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LUSTMORD & VARIOUS ARTISTS

The Others (LUSTMORD deconstructed)

Format: do-CD Label / Cat: Pelagic Records PEL 183 Year: 2022

€20.00

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LUSTMORD & VARIOUS ARTISTS

The Others (LUSTMORD deconstructed)

Format: 3 x LP Label / Cat: Pelagic Records PEL 183-V Year: 2022

€52.00

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NEW BLOCKADERS & VARIOUS ARTISTS

Viva Negativa! A Tribute to the New Blockaders Vol. II - Europe

Format: do-CD Label / Cat: Auf Abwegen aatp28 Year: 2010

€17.50

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STIEBLER, ERNSTALBRECHT / VARIOUS ARTISTS

Reworks

Format: LP Label / Cat: Karlrecords KR062 Year: 2019

€18.00

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V.A. (VARIOUS ARTISTS)

INVENTIONEN 98: 50 Jahre Musique Concrete

Format: do-CD Label / Cat: Edition RZ 10009/10 Parallele 9/10 Year: 1999

€21.00

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V.A. (VARIOUS ARTISTS)

The Undertow: Undercurrents of Australian Experimental Music

Format: CD-R Label / Cat: Shame File Music SHAM026 Year: 2004

€8.00

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V.A. (VARIOUS ARTISTS)

Take a Knife and Open my Heart

Format: LP Label / Cat: Sound Miracle Recordings - SSMM001 Year: 2018

€23.00

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V.A. (VARIOUS ARTISTS)

Household Objects (and Sundry Massed Gadgets)

Format: do-CD Label / Cat: The 62nd Gramophone Company 62-GC3/4 Year: 2025

€18.00

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V.A. (VARIOUS ARTISTS)

GESPENSTERLAND

Format: LP Label / Cat: Bureau B - BB436 Year: 2023

€25.00

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V.A. (VARIOUS ARTISTS)

Eavesdrop Festival 2024

Format: MC Label / Cat: KarlRecords KR121 Year: 2026

€11.50

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V.A. (VARIOUS ARTISTS) (COMPILATIONS)

33 rpm : Ten Hours of Sound from France

Format: CD Label / Cat: 23five Incorporated and the San Francisco Museum of Modern Art, 23F/SFM 903 Year: 2003

€12.00

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V.A. (VARIOUS ARTISTS) (COMPILATIONS)

Alliance

Format: CD Label / Cat: L White LW031 Year: 2005

€13.00

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V.A. (VARIOUS ARTISTS) (COMPILATIONS)

Antologia de Musica Electronica Portugesa

Format: CD Label / Cat: Tomlab TOM38 Year: 2004

€15.00

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V.A. (VARIOUS ARTISTS) (COMPILATIONS)

ARTIFICIAL MEMORY TRACE presents: Interpretations

Format: CD-R Label / Cat: Wachsender Prozess WP20 Year: 2006

€9.50

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V.A. (VARIOUS ARTISTS) (COMPILATIONS)

Chromaticfield Remixes

Format: CD Label / Cat: Apostrov Dodek # 1 Year: 2004

€10.00

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V.A. (VARIOUS ARTISTS) (COMPILATIONS)

Circuits of Steel

Format: do-CD Label / Cat: SSS Records 57 Year: 2002

€8.00

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V.A. (VARIOUS ARTISTS) (COMPILATIONS)

Coilectif. In Memory ov John Balance and Homage to COIL

Format: CD Label / Cat: Rotorelief ROTORCD0001 Year: 2006

€14.50

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V.A. (VARIOUS ARTISTS) (COMPILATIONS)

Construction Sonor

Format: do-CD Label / Cat: Pro Helvetia / Gallerie 57>34.6km Year: 2003

€17.50

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V.A. (VARIOUS ARTISTS) (COMPILATIONS)

Consumer Electronics

Format: do-DVDR Label / Cat: L White V03 Year: 0000

€21.00

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V.A. (VARIOUS ARTISTS) (COMPILATIONS)

Dark Transmissions

Format: CD Label / Cat: Force of Nature Prod. fon01 Year: 2002

€10.00

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V.A. (VARIOUS ARTISTS) (COMPILATIONS)

Death's last Life's Breath

Format: CD Label / Cat: Beta-lactam Ring Records bb08 Year: 2004

€13.00

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V.A. (VARIOUS ARTISTS) (COMPILATIONS)

Debris Field (MAX EASTLEY / LOREN CHASSE / COLIN POTTER / PHIL MOULDYCLIFF / KEITH ROWE / etc.)

Format: CD & book Label / Cat: Bolton Museum / ICR Distribution ICR 53 Year: 2006

€16.00

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V.A. (VARIOUS ARTISTS) (COMPILATIONS)

Dissolution Tapes: The Musique Concrete Ensemble remixed

Format: CD Label / Cat: Zeromoon ZERO 004 Year: 2003

€10.00

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V.A. (VARIOUS ARTISTS) (COMPILATIONS)

Ein Prosit zur letzten Tide

Format: do-CDR Label / Cat: Hörbar e.V. Hamburg Year: 2004

€12.00

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V.A. (VARIOUS ARTISTS) (COMPILATIONS)

Epitaph for John

Format: CD Label / Cat: Korm Plastics KP 3016 Year: 2005

€13.00

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V.A. (VARIOUS ARTISTS) (COMPILATIONS)

Evolved As One - a Collection of emotional Ambient Drones

Format: CD Label / Cat: Evolvedasone evol 01 Year: 2003

€13.00

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V.A. (VARIOUS ARTISTS) (COMPILATIONS)

Floating Foundation Vol. 1

Format: CD Label / Cat: Sub Rosa SR146 Year: 2002

€13.00

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Four Studies for a Human Portrait : Tribute to Francis Bacon

Format: CD Label / Cat: Vital Records Vital 002 Year: 2005

€13.00

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Go-To-Cat-Man-Do

Format: CD Label / Cat: Monotype Records MONOTYPE 001 Year: 2005

€13.00

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V.A. (VARIOUS ARTISTS) (COMPILATIONS)

Guitars undressed

Format: CD Label / Cat: Marrakech Recordings MRKC-CD001 Year: 2003

€12.00

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V.A. (VARIOUS ARTISTS) (COMPILATIONS)

Holy Mother Russia

Format: LP Label / Cat: Steinklang SK-IN 02 Year: 2004

€15.00

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V.A. (VARIOUS ARTISTS) (COMPILATIONS)

Ikebana: Merzbow's Amlux Rebuilt, Reused and Recycled

Format: do-CD Label / Cat: Important Records imprec016 Year: 2003

€16.00

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V.A. (VARIOUS ARTISTS) (COMPILATIONS)

INFERNAL PROTEUS

Format: BOOK / 4 x CD Label / Cat: AJNA Year: 2002

Format: 12 x 12inch Label / Cat: Beta-Lactam Ring Records RANFBUSA Year: 2005

€300.00

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V.A. (VARIOUS ARTISTS) (COMPILATIONS)

Runeology 2

Format: CD Label / Cat: Rune Grammofon RCDS 2 Year: 2005

€8.50

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Salon Bruit

Format: CD-R Label / Cat: Sciss Year: 2003

Format: CD Label / Cat: Tophet Prophet TP001 Year: 2002

Format: LP Label / Cat: Hörbar Hamburg Year: 2005

€15.00

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V.A. (VARIOUS ARTISTS) (COMPILATIONS)

Water & Architecture

Format: CD Label / Cat: Sub Rosa SR120 Year: 1998

€14.00

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V.A. (VARIOUS ARTISTS) (COMPILATIONS)

Widerstand (PROPERGOL, ORPHX, GENITOR LVMINIS, PREDOMINANCE, DREAM INTO DUST, SURVIVAL UNIT, CON-DOM, etc )

Format: do-CD Label / Cat: State Art SAZERO Year: 2003

€18.00

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V.A. (VARIOUS ARTISTS) (COMPILATIONS)

Yokomono 02 (Staalplaat Soundystem + FENNESZ, PALESTINE, FM3, RADIAN, TIM HECKER, ILPO VAISANEN, etc.)

€8.00

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V.A. (VARIOUS ARTISTS) (COMPILATIONS)

Polyhedric Tetrapak

Format: CD Label / Cat: Ooze.bap Records Year: 2001

€8.00

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Abschied aus Berne

Format: MC Label / Cat: Wachsender Prozess WP 01 Year: 1995

€7.50

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... It Just Is . In Memoriam: Jhonn Balance

Format: do-CD Label / Cat: Fulldozer Records FDCD20 / NHCD02 Year: 2005

€13.00

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V.A. (VARIOUS ARTISTS) (COMPILATIONS)

Thalamus II

Format: CD Label / Cat: KultFront KF-II Year: 2005

€12.00

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Avanto 2006

Format: CD Label / Cat: Avanto AAAAA Year: 2006

€13.00

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Table For Six: All Quiet?

Format: CD Label / Cat: EE Tapes EE09 Year: 2006

€13.00

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How to stay young & healthy in a modern world

Format: do-CDR Label / Cat: Abgurd AB-28 Year: 2006

€14.00

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Penumbra EP Collection Vol. 8

Format: CD-R Label / Cat: Penumbra 038 Year: 2006

€12.00

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Listen to something different

Format: CD Label / Cat: Ars Macabre AMREC 04 CD Year: 2007

€13.00

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Noise Factory Records Sampler Vol. 3

Format: CD Label / Cat: Noise Factory Records NOISECD113 Year: 2007

€12.00

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4 sides a circle

Format: 4 x mCDR Label / Cat: Banned Production Year: 2006

€15.00

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KKH 1 LOCK GROOVES

Format: 7inch Label / Cat: Royal Records / Royal University College of Fine Arts Year: 2007

€6.00

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Sur-Terre.Net

Format: CD Label / Cat: Ytterbium 17 Year: 2006

€13.50

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Three aural interpretations of a drawing by Eric Lanzillotta

Format: 7inch Label / Cat: Anomalous Records NOM28 Year: 2007

Format: CD Label / Cat: INA GRM ina c 1035 Year: 2004

€9.00

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Roulette Russe pour un peu de Caviar

Format: CD Label / Cat: Monochrome Vision (mv12) Year: 2007

€13.00

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Beyond ignorance and borders. An African, Middle-Eastern, Asian noise and electronic compilation

Format: CD Label / Cat: Syrphe S002 Year: 2007

€12.00

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V.A. (VARIOUS ARTISTS) (COMPILATIONS)

Wild Tigers I have known

Format: CD Label / Cat: Durtro Jnana Year: 2007

€14.50

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A tribute to the wor(l)ds of Jhonn Balance

Format: CD Label / Cat: Creative Fields Records CF CD 01 Year: 2007

€12.00

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MUZYKA VOLN

Format: CD Label / Cat: Zhelezobeton / Muzyka Voln MV-I Year: 2008

€13.00

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Table For Six: All Quiet? # 2

Format: CD Label / Cat: EE Tapes EE11 Year: 2007

€13.00

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Musics in the Margin Vol.1

Format: CD Label / Cat: Sub Rosa SR254 Year: 2007

€13.00

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Dark Ambient Radio Volume 1

Format: CD Label / Cat: Dark Ambient Radio Year: 2008

Format: CD-R Label / Cat: Centre of Wood C.O.W.004 Year: 2007

€10.00

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Audioscoop Compilation 1

Format: do-LP Label / Cat: Audioscoop / Intro in Situ IS 01 Year: 2008

€25.00

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OEC 100 / THE OLD EUROPA CAFE

Format: 7 x CD-Box Label / Cat: Old Europa Cafe OEC 100 Year: 2008

€38.00

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>Manifesto Rumorarmonico Post Futurista. Tributo a LUIGI RUSSOLO

Format: do-LP Label / Cat: Old Europa Cafe OELP009 Year: 2008

€22.00

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ELEKTROFONI. NEW ELECTROACOUSTIC MUSIC FROM SWEDEN

Format: CD Label / Cat: Elektron Records EM 1009 Year: 2005

€13.00

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V.A. (VARIOUS ARTISTS) (COMPILATIONS)

TEKNOIR

Format: do-CD Label / Cat: Hymen Y701 Year: 1999

€8.50

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ELECTRIC LIGHT (COLUMN ONE REMIXES)

Format: CD Label / Cat: 90% Wasser WCD004 Year: 2001

Format: CD Label / Cat: Zelphabet Year: 2008

€10.00

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SACRAL SYMPHONY

Format: CD Label / Cat: EE Tapes EE14 Year: 2008

€13.00

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The Recommended Records Sampler 1982 - 25th Anniversary Edition

Format: do-CD Label / Cat: ReR 25 A/B Year: 2008

€17.50

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Table for Six: All Quiet? # 3

Format: CD Label / Cat: EE Tapes EE15 Year: 2008

€13.00

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They've got the whole World in their Hands

Format: do-CD Label / Cat: Methods to Survive 001 Year: 1999

€15.00

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ANGST - A Spectre Compilation

Format: do-CD Label / Cat: Spectre Records S20 Year: 2004

€16.50

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TESLA : Werkstatt Klangapparate

Format: DVD Label / Cat: Edition RZ 20005 Year: 2007

€12.00

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Zelphabet Vol. E

Format: CD Label / Cat: Zelphabet Year: 2009

€11.00

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Zelphabet Vol. F

Format: CD Label / Cat: Zelphabet Year: 2009

€11.00

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SOURCE RECORDS 1-6. Music of the Avant Garde, 1968-1971

Format: 3 x CD Label / Cat: Pogus P21050-2 Year: 2009

Format: CD Label / Cat: Wergo WER 6600-2 Year: 1997

€7.50

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Abnormal Beauty

Format: CD Label / Cat: Beast of Prey bop 4.3 Year: 2009

€12.00

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Risveglio Di Una Citta (In Memory of Luigi Russolo)

Format: 6 x CD-R / book Label / Cat: Impulsy Stetoskopu IS 009 Year: 2008

€33.00

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Soundtrack for the End of the World

Format: CD Label / Cat: Self Abuse Records SAD-01 Year: 1994

€10.00

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YA JI

Format: CD Label / Cat: Kwan Yin Records YJ001 Year: 2008

€12.00

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SUBSTANTIA INNOMINATA STARTER SET : 10 SUBS (your choice) as SET

V.A. (VARIOUS ARTISTS) (COMPILATIONS)

SUBSTANTIA INNOMINATA STARTER SET : 10 SUBS (your choice) as SET

Sold out

Format: 10 x 10inch-SET Label / Cat: Substantia Innominata SUBXXTEN Year: 2022

€105.00

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Dutch Fidelity

Format: 7 Label / Cat: Antenne AN01 Year: 2002

€7.50

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Zelphabet Vol. H

Format: CD Label / Cat: Zelphabet Year: 2009

€11.00

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Neurot Recordings I

Format: CD + DVD Label / Cat: Neurot Recordings NR032 Year: 2004

€7.50

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DruckEmpfinden-Festival

Format: CD Label / Cat: Chamber Music Records CMR001 Year: 2009

€13.00

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Dark Ambient Radio Volume 2

Format: CD Label / Cat: Dark Ambient Radio Year: 2009

€13.00

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TOTAL Volume One

Format: LP Label / Cat: Parade Amoureuse PHOE 012 Year: 1991

€16.00

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Le Mystere des Templiers

Format: CD Label / Cat: Naive Classique AMT195 Year: 2009

Format: LP + CD Label / Cat: Kompakt KOM186 Year: 2009

€14.50

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String of Artifacts

Format: do-CD Label / Cat: Fish Pies AU 010 / Resipiscent RSPT007 Year: 2005

€20.00

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Lenghedivacje

Format: do-CDR Label / Cat: Finalmuzik FM15 / Hybrida Year: 2008

€12.00

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SECRET ASSEMBLY (live CANYON Club 16. May 2009)

Format: DVD Label / Cat: OMS Records OMS DVD 01 Year: 2010

€16.00

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Must be Musique

Format: LP Label / Cat: Dark Vinyl DV#15 Year: 1992

€15.00

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Shapes and Phases of Ambience

Format: CD Label / Cat: Ghostsounds PXYCH.01 Year: 2008

€7.00

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Stählerne Lichter

Format: CD Label / Cat: Licht und Stahl LICHT 006 Year: 2009

€13.00

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Avtogen-Shaitan

Format: do-CDR Label / Cat: Ostroga OTR-015 Year: 2007

€12.00

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ERRATUM # 4, Revue Sonore

Format: 3 x CD Label / Cat: Erratum Musical EM004 Year: 2004

€26.00

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Things that happened

Format: do-CDR Label / Cat: Reduktive Musiken REDUKT 013 Year: 2010

€17.50

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Clicks & Cuts 5.1 - Paradigm Shift (The Bonus Package)

Format: CD Label / Cat: Mille Plateaux MP 306 Year: 2010

€10.00

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Musics in the Margin Vol. 2: Musik Oblik

Format: CD Label / Cat: Sub Rosa SR299 Year: 2010

€13.00

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Twenty Centuries of Stony Sleep

Format: do-LP Label / Cat: Rune Grammofon RLP 3100 Year: 2010

Format: DVD-Audio Label / Cat: Empreintes Digitales IMED 09100 Year: 2009

€12.50

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Audible Geography

Format: CD Label / Cat: Room40 EDRM416 Year: 2008

€14.00

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Zelphabet Vol. K

Format: CD Label / Cat: Zelphabet K Year: 2011

€11.00

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Magnetic Traces

Format: CD Label / Cat: Swarming 002 Year: 2009

€13.00

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I.D. Art # 2

Format: CD Label / Cat: Paradigm Discs PD23 Year: 2007

€13.00

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A tasty Swarm of small Signals

Format: DVD-Audio Label / Cat: Störung str008 Year: 2010

€18.00

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Vox:one

Format: CD Label / Cat: Ohm Records 0.8 ohm Year: 2010

€12.00

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IMPREC300

Format: LP Label / Cat: Important Records IMPREC300 Year: 2011

€12.00

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The Sound Ecology: Range

Format: CD Label / Cat: Nitkie label patch two Year: 2011

€13.00

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Message from a Subatomic World

Format: CD Label / Cat: Hypnos Recordings hyp2854 Year: 2008

€13.00

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DRONE-MIND // MIND-DRONE Vol. 1 : HALO MANASH, UBEBOET, JARL, B*TONG

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Gravity's Drop Out. Tracks for non-existing Movies

Format: CD Label / Cat: Alrealonmusique ALRN037 Year: 2012

€12.00

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...plays BAD SECTOR

Format: mCDR Label / Cat: Bastets Kitten BK003 Year: 2011

€6.00

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Compilation Festival Electronica en Abril * 2003-2012

€24.50

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DRONE-MIND // MIND-DRONE Vol. 2

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Format: LP Label / Cat: Drone Records MIND-02 Year: 2012

€15.00

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Complete 10inch-series from Cold Blue

Format: 3 x CD Label / Cat: Cold Blue Records CB0014 Year: 2003

€24.00

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Japanoise of Death I+II

Format: do-CD / metal box Label / Cat: Steinklang Industries SK-IN 12 BOX Year: 2008

€29.00

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Tensions at the Vanguard: New Music from Peru (1948-1979)

Format: do-CD Label / Cat: Pogus Productions POGUS 21065-2 Year: 2012

€18.50

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Cycles: Cyclic Law's 10th Anniversary Label Sampler

Format: do-CD Label / Cat: Cyclic Law - 50th Cycle Year: 2012

€14.00

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ZugZwang-Festival III

Format: CD Label / Cat: Chamber Music Recodrs CMR004 Year: 2012

Format: CD Label / Cat: Syrphe S012 Year: 2012

€12.00

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30.2 - Electronica, Experimental and Noise from Africa

Format: CD Label / Cat: Syrphe S013 Year: 2012

€12.00

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DRONE-MIND // MIND-DRONE Vol. 3

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Sold out

Format: CD Label / Cat: KultFront KF-XXVII Year: 2016

€13.00

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Epicurean Escapism III

Artist	Album	Format	Label & Cat. Number	Year	Price (incl. 19% VAT)
LUSTMORD & VARIOUS ARTISTS	The Others (LUSTMORD deconstructed)	do-CD	Pelagic Records PEL 183	2022	€20.00
	The Others (LUSTMORD deconstructed)	3 x LP	Pelagic Records PEL 183-V	2022	€52.00
NEW BLOCKADERS & VARIOUS ARTISTS	Viva Negativa! A Tribute to the New Blockaders Vol. II - Europe	do-CD	Auf Abwegen aatp28	2010	€17.50
STIEBLER, ERNSTALBRECHT / VARIOUS ARTISTS	Reworks	LP	Karlrecords KR062	2019	€18.00
V.A. (VARIOUS ARTISTS)	INVENTIONEN 98: 50 Jahre Musique Concrete	do-CD	Edition RZ 10009/10 Parallele 9/10	1999	€21.00
	The Undertow: Undercurrents of Australian Experimental Music	CD-R	Shame File Music SHAM026	2004	€8.00
	Take a Knife and Open my Heart	LP	Sound Miracle Recordings - SSMM001	2018	€23.00
	Household Objects (and Sundry Massed Gadgets)	do-CD	The 62nd Gramophone Company 62-GC3/4	2025	€18.00
	GESPENSTERLAND	LP	Bureau B - BB436	2023	€25.00
	Eavesdrop Festival 2024	MC	KarlRecords KR121	2026	€11.50
V.A. (VARIOUS ARTISTS) (COMPILATIONS)	33 rpm : Ten Hours of Sound from France	CD	23five Incorporated and the San Francisco Museum of Modern Art, 23F/SFM 903	2003	€12.00
	Alliance	CD	L White LW031	2005	€13.00
	Antologia de Musica Electronica Portugesa	CD	Tomlab TOM38	2004	€15.00
	ARTIFICIAL MEMORY TRACE presents: Interpretations	CD-R	Wachsender Prozess WP20	2006	€9.50
	Chromaticfield Remixes	CD	Apostrov Dodek # 1	2004	€10.00
	Circuits of Steel	do-CD	SSS Records 57	2002	€8.00
	Coilectif. In Memory ov John Balance and Homage to COIL	CD	Rotorelief ROTORCD0001	2006	€14.50
	Construction Sonor	do-CD	Pro Helvetia / Gallerie 57>34.6km	2003	€17.50
	Consumer Electronics	do-DVDR	L White V03	0000	€21.00
	Dark Transmissions	CD	Force of Nature Prod. fon01	2002	€10.00
	Death's last Life's Breath	CD	Beta-lactam Ring Records bb08	2004	€13.00
	Debris Field (MAX EASTLEY / LOREN CHASSE / COLIN POTTER / PHIL MOULDYCLIFF / KEITH ROWE / etc.)	CD & book	Bolton Museum / ICR Distribution ICR 53	2006	€16.00
	Dissolution Tapes: The Musique Concrete Ensemble remixed	CD	Zeromoon ZERO 004	2003	€10.00
	Ein Prosit zur letzten Tide	do-CDR	Hörbar e.V. Hamburg	2004	€12.00
	Epitaph for John	CD	Korm Plastics KP 3016	2005	€13.00
	Evolved As One - a Collection of emotional Ambient Drones	CD	Evolvedasone evol 01	2003	€13.00
	Floating Foundation Vol. 1	CD	Sub Rosa SR146	2002	€13.00
	Four Studies for a Human Portrait : Tribute to Francis Bacon	CD	Vital Records Vital 002	2005	€13.00
	Go-To-Cat-Man-Do	CD	Monotype Records MONOTYPE 001	2005	€13.00
	Guitars undressed	CD	Marrakech Recordings MRKC-CD001	2003	€12.00
	Holy Mother Russia	LP	Steinklang SK-IN 02	2004	€15.00
	Ikebana: Merzbow's Amlux Rebuilt, Reused and Recycled	do-CD	Important Records imprec016	2003	€16.00
	INFERNAL PROTEUS	BOOK / 4 x CD	AJNA	2002	€45.00
	INstruments	CD	List L5	2004	€10.00
	Inventionen 2000	do-CD/book	Pfau-Verlag / Edition RZ Parallele 10012/10013	2001	€29.00
	Ju-Jikan	do-CD	23five Incorporated and the San Francisco Museum of Modern Art, 23F/SFM 901	2002	€15.00
	Kompilation	do-CD	Kranky KRANK077	2004	€8.00
	Lust from the Underworld	do-CD	HORUS CyclicDaemon HCD 02-2	2004	€22.00
	Minima	CD	List L1	2002	€10.00
	Montreal Sound Matter / Montreal Matiere Sonore	CD	Pogus Productions P21041-2	2006	€13.00
	On Paper	do-CD	Cronica 005	2003	€10.00
	Oscotarach	do-LP	Deafborn Records Dbvn04	2005	€10.00
	Paranoise One	CD	Paranoise Records pnp10	2005	€10.00
	Radiation	CD-R	L White LW021	2005	€10.00
	RECORDS ARE NOT FOR BAKING [RANFB] (Full Subscription)	12 x 12inch	Beta-Lactam Ring Records RANFBUSA	2005	€300.00
	Runeology 2	CD	Rune Grammofon RCDS 2	2005	€8.50
	Salon Bruit	CD-R	Sciss	2003	€10.00
	Serene Moments (NACHT / NORTHAUNT / SHINJUKU THIEF / UMBRA)	do-7	Fluttering Dragon Rec. DRAGON 0.27	2004	€10.00
	Si'ka-del-ik	CD	Psychform Records PFR01CD	2004	€10.00
	SPIRE (ORGAN WORKS PAST PRESENT & FUTURE)	do-CD	Touch Tone 20	2003	€19.50
	Spire: Live in Geneva Cathedral	do-CD	Touch TONE 21_2CD	2005	€19.50
	Swarm	do-CD	Cold Spring Records CSR60CD	2006	€13.00
	Tel Aviv Aftermath	CD	Tophet Prophet TP001	2002	€8.00
	Text-Sound Compositions. A Stockholm Festival	5 x CD-Box	Fylkingen Records FYCD 1024:1-5	2005	€45.00
	The Golden Road	7	Early Morning Records EMR COMP-7	2003	€6.00
	The Walls are whispering Vol. 2	CD	EE Tapes EE05	2004	€12.00
	This Place is Dreaming	CD	Argos / Kraak K047	2004	€13.50
	Ultrason	LP	Association ÜNE V01U02	2002	€14.50
	Variable Resistance	CD	23five Incorporated and the San Francisco Museum of Modern Art, 23F/SFM 901	2002	€13.00
	Variations	CD	Paradigm PD01	1995	€13.50
	Variations 2	CD	Paradigm PD05	1998	€13.50
	VARIOUS (Chartier, Brume, Tsunoda, M.Prime, Pimmon, Meelkop, J. Hudak, etc etc)	do-CD	Intransitive Reordings INT013	2001	€16.00
	Verfassung	LP	Hörbar Hamburg	2005	€15.00
	Water & Architecture	CD	Sub Rosa SR120	1998	€14.00
	Widerstand (PROPERGOL, ORPHX, GENITOR LVMINIS, PREDOMINANCE, DREAM INTO DUST, SURVIVAL UNIT, CON-DOM, etc )	do-CD	State Art SAZERO	2003	€18.00
	Yokomono 02 (Staalplaat Soundystem + FENNESZ, PALESTINE, FM3, RADIAN, TIM HECKER, ILPO VAISANEN, etc.)	LP	Staalplaat	2005	€13.50
	Zeitenwechsel 2	CD	Edition RZ / Parallele 20002	2001	€14.00
	Zeitenwechsel: JOHN CAGE	CD	Edition RZ / Parallele 20001	2001	€14.00
	IZNUTRI	CD	Ewers Tonkunst HHE 014 CD	2007	€13.00
	IDIOSCAPES	CD	Idiosyncratic Records idcd 001	2007	€10.00
	Nekton Falls	3 x CD	Sonic Dragon	2006	€16.00
	Nonplace Souvenirs	CD	Ooze.bap Records	2001	€8.00
	Polyhedric Tetrapak	CD	Ooze.bap Records	2001	€8.00
	Abschied aus Berne	MC	Wachsender Prozess WP 01	1995	€7.50
	... It Just Is . In Memoriam: Jhonn Balance	do-CD	Fulldozer Records FDCD20 / NHCD02	2005	€13.00
	Thalamus II	CD	KultFront KF-II	2005	€12.00
	Avanto 2006	CD	Avanto AAAAA	2006	€13.00
	Table For Six: All Quiet?	CD	EE Tapes EE09	2006	€13.00
	How to stay young & healthy in a modern world	do-CDR	Abgurd AB-28	2006	€14.00
	Penumbra EP Collection Vol. 8	CD-R	Penumbra 038	2006	€12.00
	Listen to something different	CD	Ars Macabre AMREC 04 CD	2007	€13.00
	Noise Factory Records Sampler Vol. 3	CD	Noise Factory Records NOISECD113	2007	€12.00
	4 sides a circle	4 x mCDR	Banned Production	2006	€15.00
	KKH 1 LOCK GROOVES	7inch	Royal Records / Royal University College of Fine Arts	2007	€6.00
	Sur-Terre.Net	CD	Ytterbium 17	2006	€13.50
	Three aural interpretations of a drawing by Eric Lanzillotta	7inch	Anomalous Records NOM28	2007	€8.00
	20 Jahre Inventionen VI	CD	Edition RZ 10016	2007	€10.00
	Archives GRM - les visiteurs de l'aventure concrete	CD	INA GRM ina c 1031	2004	€9.00
	Archives GRM - l'art de l'etude	CD	INA GRM ina c 1032	2004	€9.00
	Archives GRM - le son en nombres	CD	INA GRM ina c 1033	2004	€9.00
	Archives GRM - le temps du temps reel	CD	INA GRM ina c 1034	2004	€9.00
	Archives GRM - le grm sans le savoir	CD	INA GRM ina c 1035	2004	€9.00
	Roulette Russe pour un peu de Caviar	CD	Monochrome Vision (mv12)	2007	€13.00
	Beyond ignorance and borders. An African, Middle-Eastern, Asian noise and electronic compilation	CD	Syrphe S002	2007	€12.00
	Wild Tigers I have known	CD	Durtro Jnana	2007	€14.50
	A tribute to the wor(l)ds of Jhonn Balance	CD	Creative Fields Records CF CD 01	2007	€12.00
	MUZYKA VOLN	CD	Zhelezobeton / Muzyka Voln MV-I	2008	€13.00
	Table For Six: All Quiet? # 2	CD	EE Tapes EE11	2007	€13.00
	Musics in the Margin Vol.1	CD	Sub Rosa SR254	2007	€13.00
	Dark Ambient Radio Volume 1	CD	Dark Ambient Radio	2008	€13.00
	An Uncommon Nature	LP	Anomalous Records NOM 6	2001	€16.00
	FRANNCE	3 x CDR	Ruralfaune rur024	2007	€18.00
	Destroying the Night Sky (CADAVEROUS CONDITION-remixes)	CD	Klanggalerie gg119	2008	€12.00
	AIRPORT SYMPHONY	do-CD	ROOM 40 EMDR 417	2007	€18.00
	SPIRE LIVE FUNDAMENTALIS	do-LP	Autofact FACT12 / Touch Tone 28	2008	€18.50
	ESCAPING FROM COLOR: RAPOON RECOMPOSED & REMIXED	CD	Quasi Pop QPOP CD45	2008	€13.00
	Zelphabet Vol. A	CD	Zelphabet	2008	€6.00
	Landscape I / The Forest	CD-R	Centre of Wood C.O.W.004	2007	€10.00
	Audioscoop Compilation 1	do-LP	Audioscoop / Intro in Situ IS 01	2008	€25.00
	OEC 100 / THE OLD EUROPA CAFE	7 x CD-Box	Old Europa Cafe OEC 100	2008	€38.00
	>Manifesto Rumorarmonico Post Futurista. Tributo a LUIGI RUSSOLO	do-LP	Old Europa Cafe OELP009	2008	€22.00
	ELEKTROFONI. NEW ELECTROACOUSTIC MUSIC FROM SWEDEN	CD	Elektron Records EM 1009	2005	€13.00
	TEKNOIR	do-CD	Hymen Y701	1999	€8.50
	ELECTRIC LIGHT (COLUMN ONE REMIXES)	CD	90% Wasser WCD004	2001	€13.50
	ARYAN MEMORY. Musical Traditions in Pamir	do-CD / DVD / BOOK - set	Kailas Records KLS 041, 042, 043	2007	€50.00
	DIY CANONS	do-CD	Pogus Productions 21036-2	2005	€16.00
	The Black Square	CD	KultFront KF-VI	2006	€13.00
	This Infernal Love of Life	CD	Monochrome Vision (mv23)	2008	€13.00
	Zelphabet Vol. B	CD	Zelphabet	2008	€10.00
	Zelphabet Vol. D	CD	Zelphabet	2008	€10.00
	SACRAL SYMPHONY	CD	EE Tapes EE14	2008	€13.00
	The Recommended Records Sampler 1982 - 25th Anniversary Edition	do-CD	ReR 25 A/B	2008	€17.50
	Table for Six: All Quiet? # 3	CD	EE Tapes EE15	2008	€13.00
	They've got the whole World in their Hands	do-CD	Methods to Survive 001	1999	€15.00
	ANGST - A Spectre Compilation	do-CD	Spectre Records S20	2004	€16.50
	TESLA : Werkstatt Klangapparate	DVD	Edition RZ 20005	2007	€12.00
	Zelphabet Vol. E	CD	Zelphabet	2009	€11.00
	Zelphabet Vol. F	CD	Zelphabet	2009	€11.00
	SOURCE RECORDS 1-6. Music of the Avant Garde, 1968-1971	3 x CD	Pogus P21050-2	2009	€33.00
	John Barleycorn Reborn : Dark Britannica	do-CD	Cold Spring Records CSR84CD	2007	€16.00
	BRAINWAVES 2008	3 x CD	Brainwashed BRAIN013	2008	€30.00
	Pangaea Noise	CD	Syrphe S009	2008	€13.00
	Zelphabet Vol. G	CD	Zelphabet	2009	€11.00
	HÖGA NORD	LP	Segerhuva SEGER 26	2009	€14.00
	Million Ways to spend your Time	CD	Quasi Pop Records QPOP040	2006	€12.00
	TESTAMENT	CD	RRRecords RRR-CD-21	1993	€12.00
	Music of our time - Wergo Collection II	CD	Wergo WER 6600-2	1997	€7.50
	Abnormal Beauty	CD	Beast of Prey bop 4.3	2009	€12.00
	Risveglio Di Una Citta (In Memory of Luigi Russolo)	6 x CD-R / book	Impulsy Stetoskopu IS 009	2008	€33.00
	Soundtrack for the End of the World	CD	Self Abuse Records SAD-01	1994	€10.00
	YA JI	CD	Kwan Yin Records YJ001	2008	€12.00
	SUBSTANTIA INNOMINATA STARTER SET : 10 SUBS (your choice) as SET (SOLD OUT)	10 x 10inch-SET	Substantia Innominata SUBXXTEN	2022	€105.00
	Dutch Fidelity	7	Antenne AN01	2002	€7.50
	Zelphabet Vol. H	CD	Zelphabet	2009	€11.00
	Neurot Recordings I	CD + DVD	Neurot Recordings NR032	2004	€7.50
	DruckEmpfinden-Festival	CD	Chamber Music Records CMR001	2009	€13.00
	Dark Ambient Radio Volume 2	CD	Dark Ambient Radio	2009	€13.00
	TOTAL Volume One	LP	Parade Amoureuse PHOE 012	1991	€16.00
	Le Mystere des Templiers	CD	Naive Classique AMT195	2009	€13.00
	MOM	CD	Beta-lactam Ring Records bb11	2009	€13.00
	FREQ_OUT [0 - °°Hz]	CD	Ash International # 5.8	2004	€13.00
	FREQ_OUT 2	CD	Ash International # 6.8	2005	€13.00
	Twisted Cabaret Vol. 1	CD	Volvox Music VOLCD92	2010	€14.50
	SURFACE TENSION	BOOK & CD	Errant Bodies Press EBP 09655570-4-9	2003	€25.00
	Pop Ambient 2009	LP + CD	Kompakt KOM186	2009	€14.50
	String of Artifacts	do-CD	Fish Pies AU 010 / Resipiscent RSPT007	2005	€20.00
	Lenghedivacje	do-CDR	Finalmuzik FM15 / Hybrida	2008	€12.00
	SECRET ASSEMBLY (live CANYON Club 16. May 2009)	DVD	OMS Records OMS DVD 01	2010	€16.00
	Must be Musique	LP	Dark Vinyl DV#15	1992	€15.00
	Shapes and Phases of Ambience	CD	Ghostsounds PXYCH.01	2008	€7.00
	Stählerne Lichter	CD	Licht und Stahl LICHT 006	2009	€13.00
	Avtogen-Shaitan	do-CDR	Ostroga OTR-015	2007	€12.00
	ERRATUM # 4, Revue Sonore	3 x CD	Erratum Musical EM004	2004	€26.00
	Things that happened	do-CDR	Reduktive Musiken REDUKT 013	2010	€17.50
	Clicks & Cuts 5.1 - Paradigm Shift (The Bonus Package)	CD	Mille Plateaux MP 306	2010	€10.00
	Musics in the Margin Vol. 2: Musik Oblik	CD	Sub Rosa SR299	2010	€13.00
	Twenty Centuries of Stony Sleep	do-LP	Rune Grammofon RLP 3100	2010	€22.00
	Offstrings	LP	Complacency Records CR201001	2010	€18.50
	Psychogeographical Dip	CD	GD Stereo GD013	1997	€13.00
	Ekhnaton	CD	Silentes Minimal Editions sme1036	2010	€12.50
	25 Years of Kapotte Muziek	CD	Korm Plastics KP 3039	2010	€10.00
	XXXII° Concorso Internazionale die Musica Elettroacustica e Rumore	do-CD	Monochrome Vision mc33	2010	€17.00
	Trans_Canada. ZKM Karlsruhe	DVD-Audio	Empreintes Digitales IMED 09100	2009	€12.50
	Audible Geography	CD	Room40 EDRM416	2008	€14.00
	Zelphabet Vol. K	CD	Zelphabet K	2011	€11.00
	Magnetic Traces	CD	Swarming 002	2009	€13.00
	I.D. Art # 2	CD	Paradigm Discs PD23	2007	€13.00
	A tasty Swarm of small Signals	DVD-Audio	Störung str008	2010	€18.00
	Vox:one	CD	Ohm Records 0.8 ohm	2010	€12.00
	IMPREC300	LP	Important Records IMPREC300	2011	€12.00
	The Sound Ecology: Range	CD	Nitkie label patch two	2011	€13.00
	Message from a Subatomic World	CD	Hypnos Recordings hyp2854	2008	€13.00
	DRONE-MIND // MIND-DRONE Vol. 1 : HALO MANASH, UBEBOET, JARL, B*TONG (SOLD OUT)	LP	Drone Records MIND-01	2011	€15.00
	From Earth to Sirius	do-CD	Zoharum ZOHAR 020-2	2011	€15.00
	Ambient of TIME	CD	Whereabouts Records WHACD-5	2011	€13.50
	The Ballad of Genesis and Lady Jaye (OST)	CD	Sweet Nothing SNCD55	2012	€13.00
	Departure of Melancholy	CD	Firework Edition Records FER1076	2008	€12.00
	FUCK YOU. Fucking Noise in China now	DVD	Sub Rosa / OME#13	2012	€15.00
	Gravity's Drop Out. Tracks for non-existing Movies	CD	Alrealonmusique ALRN037	2012	€12.00
	...plays BAD SECTOR	mCDR	Bastets Kitten BK003	2011	€6.00
	Compilation Festival Electronica en Abril * 2003-2012	do-LP BOX	La Casa Encendida	2012	€29.50
	Yokomono 03.5 ("triple grooved" MERZBOW, MIKA VAINIO, NO ARTIST, JAAP BLONK, CYNTHIA ZAVEN)	LP	Staalplaat - Yokomono 03.5	2012	€12.00
	Six Winners: The Stockholm Electronic Arts Award 1991-1996	CD	Fylkingen Records FYCD 1014	1999	€15.00
	5 Composers - 3rd Hearing	CD	Fylkingen Records FYCD 1006	1995	€12.50
	Strade Trasparenti	CD	Staubgold staubgold digital 9	2011	€15.00
	The constant Rise of Expectations	CD-R	Klappstuhl Records SP 003	2012	€12.00
	5 Composers - Second Coming	CD	Fylkingen Records FYCD 1003	1994	€12.50
	Swedish Contemporary Music	LP	Fylkingen Records FYLP 1030	1983	€16.50
	Revenge? Yes! NORDIC AUDIO MODERN 2012	CD	Autarkeia acd 086	2012	€13.00
	Benefiets for Japan	do-CD	Licht-Ung	2012	€17.00
	TOUCH. 30 Years and counting	do-LP	Touch Tone 33	2012	€24.50
	DRONE-MIND // MIND-DRONE Vol. 2 (SOLD OUT)	LP	Drone Records MIND-02	2012	€15.00
	Complete 10inch-series from Cold Blue	3 x CD	Cold Blue Records CB0014	2003	€24.00
	Japanoise of Death I+II	do-CD / metal box	Steinklang Industries SK-IN 12 BOX	2008	€29.00
	Tensions at the Vanguard: New Music from Peru (1948-1979)	do-CD	Pogus Productions POGUS 21065-2	2012	€18.50
	Cycles: Cyclic Law's 10th Anniversary Label Sampler	do-CD	Cyclic Law - 50th Cycle	2012	€14.00
	ZugZwang-Festival III	CD	Chamber Music Recodrs CMR004	2012	€10.00
	VERNACULAR	do-CD	Whereabouts Records WHACD-13	2013	€14.00
	In Progress II	CD	Laznia - Centre for Contemporary Art	2013	€8.00
	EXTRACT. Portraits of Soundartists	BOOK // 2 x CD	Nonvisualobjects NVO 011	2007	€36.00
	70 Years of Sunshine	do-CD	Monotype Records mono070	2013	€16.00
	The Post Romantic Empire Album	do-LP & 7inch	Our Sweetest Songs OSS001	2013	€39.00
	Art of the Muses	CD	Syrphe S012	2012	€12.00
	30.2 - Electronica, Experimental and Noise from Africa	CD	Syrphe S013	2012	€12.00
	DRONE-MIND // MIND-DRONE Vol. 3 (SOLD OUT)	LP	Drone Records MIND-03	2013	€15.00
	Hassaniya Music	LP	Sublime Frequencies SF083	2013	€27.50
	Es läuten die Glocken	CD	E-Klageto EXKLAGETO 11	2014	€10.00
	EIDOLON. A Tribute to REUTOFF	CD	Old Europa Cafe OECD 189	2014	€13.00
	INVENTIONEN VII : 30 Jahre Inventionen 1982-2012	do-CD & DVD-BOX	Edition RZ 3006-8	2012	€29.00
	Gyalpo	CD	Gterma gterma005	2012	€13.00
	Incendium #4	CD	LOKI Foundation LOKI 61	2014	€4.00
	Smm: OPIATE	LP	Ghostly International GI 187LP	2013	€17.00
	Musics in the Margin Vol. 3 : Inside Out Music	CD	Sub Rosa SR393	2014	€13.00
	United States Bestial Forces	3 x CD	L. White Records LW 064	2014	€20.00
	MV X : Monochrome Visions 2004 - 2014	3 x CD	Monochrome Vision [mv50]	2014	€20.00
	Presque Rien	CD-R	Rhizome.s rhizome.s # 03	2013	€11.00
	DRONE-MIND // MIND-DRONE Vol. 4 (SOLD OUT)	LP	Drone Records MIND-04	2015	€15.00
	Wandlungen Unplump	CD	Edition DEGEM ed02 / CD 11	2014	€13.00
	Tincture of Japanoise	CD	Attenuation Circuit ACU 1002	2014	€8.00
	BALI 1928, Vol. II : Tembanf Kuna - Songs From An Earlier Time	CD	World Arbiter - 2014	2014	€14.00
	Epicurean Escapism I	CD & DVD	Silken Tofu stx.23 / The Epicurean cure 1	2013	€20.00
	Wieza Cisnien II	CD	Zoharum ZOHAR 095-2	2015	€12.00
	Insane 80's [EV01>EV10]	CD	EE Tapes EE30	2014	€12.00
	Nostra Signora delle Tenebre	do-LP	Backwards BW20	2015	€20.00
	Phra Rahu	do-CD	Gterma [gterma040]	2014	€19.50
	Anthology of Turkish Experimental Music 1961-2014	do-CD	Sub Rosa SR390	2016	€17.00
	AUSGEWÄHLTE GERÄUSCHE	do-CD & BOOK	Auf Abwegen AATP50	2016	€22.00
	DRONE-MIND // MIND-DRONE Vol. 5	LP	Drone Records MIND-05	2016	€15.00
	Now it's dark: DAVID LYNCH tribute	CD	KultFront KF-XXVII	2016	€13.00
	Epicurean Escapism III	CD & DVD + book	Silken Tofu stx.48 / The Epicurean cure.3	2016	€22.00
	PYRE	CD	Cold Spring Records	2016	€4.00
	Musique Concrete	LP	Cacophonic!!! 17CACKLP / Finders Keepers Records	2016	€21.00
	25YLOKI	do-CD	LOKI Foundation LOKI 65	2016	€13.00
	A Taste of MOLOKO PLUS / 1996-2016	do-CD	MOLOKO+ PLUS 088	2016	€15.00
	Anthology of Noise & Electronic Music Vol. 3	3 x LP	SUB ROSA SRV220	2016	€35.00
	'... that first Season' - A Winter-Light Compilation	do-CD	Winter-Light WIN 007	2017	€16.00
	Fluxus Anthology : A Collection of Music and Sound	LP	Song Cycle Records CY997	2017	€28.00
	Projekt Neue Ordnung II	4 x LP BOX	Tesco Organisation TESCO 111	2017	€78.00
	NEW SONGS OF THE HUMPBACK WHALE	CD	Important Records IMPREC433	2015	€15.00
	Magnetic Traces 2	CD	Swarming 005	2013	€13.00
	Avantgarde is happening because..	CD	Dirter Promotions DPROMCD132	2017	€14.00
	DRONE-MIND // MIND-DRONE Vol. 6 : NAM-KHAR, FOR KINGS AND QUEENS, MARKIAN VOLKOV, KEVIN DURR	LP	Drone Records MIND-06	2017	€15.00
	Your Reality is broken	LP	Black Rose Recordings BRV 17-1014	2017	€20.00
	Visions of Darkness (in Iranian Contemporary Music)	do-CD	Cold Spring CSR 242CD	2017	€16.00
	TOUCH Movements	BOOK + CD	Touch - FOLIO 002	2017	€42.50
	TROUM TRANSFORMATION TAPES: The 20th Anniversary Celebration (1997-2017)	do-CD	Transgredient Records TR-13	2018	€12.00
	Ich glaube ich höre Genesungswerk	CD	Genesungswerk GW 16	2002	€8.00
	Playing with Words	do-CD	Gruenrekorder GRUEN 065	2010	€14.00
	Karl Marx's 200th!	do-CD	Karlrecords KR058	2018	€20.00
	Tal Mont de Lune	CD	FinalMuzik FM03	2006	€7.00
	Dark Ambient Radio Volume 3	CD	Dark Ambient Radio DAR003	2013	€13.00
	Scatter	CD	Ash International Ash 3.5	1997	€13.00
	Earthen	do-CD	Cold Spring Records CSR250CD	2018	€8.00
	DRONE-MIND // MIND-DRONE Vol. 7: OPENING PERFORMANCE ORCHESTRA, MYTRIP, SKELDOS, SPECIMENS	LP & CD	Drone Records MIND-07	2019	€18.00
	Fluxuus aan de Waanzin	LP	Psych.KG 207	2015	€25.00
	Decay, Death and Darkness: Aural Visions of BEKSINSKI's Art	CD-R	Eighth Tower Records ETR016	2018	€11.00
	Turritopsis Nutricula	LP	Psych KG. FLUXUS series Psych.KG 439	2018	€22.00
	Wire Recorded Pieces	LP	Sound Miracle Recordings SSMM 004	2019	€22.50
	Die Rückkehr in Parallel-Meeseversum (2. Kepler-452b Pre-Sequel)	LP	Psych KG. FLUXUS series Psych.KG 459 - Edition Kepler-452b - Section C-4	2018	€23.00
	An Anthology of Greek Experimental Electronic Music 1966-2016	do-LP	Sub Rosa SRV471	2019	€20.00
	Music of Indonesia	LP	Fantome Phonographique OME1013	2018	€18.50
	Anthology of Electroacoustic Lebanese Music	CD	Unexplained Sounds Group USG047	2019	€13.00
	SEITO: In the Beginning, Woman Was the Sun.	CD	Akuphone AKUCD1016	2019	€13.00
	CHANGEZ RETRAVAILLE (Changez les Blockeurs)	3 x CD	RICERCA SONORA RS7	2019	€26.00
	Homo Strepitus	CD	Entartete Musik EM12	2019	€13.00
	Incantations For Tape	LP + CD	Sound Miracle Recordings SSMM 002	2018	€22.50
	The Godfather of Odd: A HARDY FOX tribute	CD	Klanggalerie gg300	2019	€15.00
	Shared Meanings	12inch	Shared Meanings SHARED001-12	2018	€15.00
	METALCHEMY	CD	Phage Tapes PT:293	2019	€10.00
	SEITO: In the Beginning, Woman was the Sun	LP	Akuphone AKULP1016	2019	€22.50
	Anthology of Contemporary Music from Middle East	CD	Unexplained Sounds Group USG055	2019	€13.00
	Thousands of Eyes in the Dark	LP	Ghostly International GI-345	2019	€20.00
	INSANE	2 x 7inch set	Vinyl-on-Demand VOD 158.INSANE	2020	€20.00
	Terässinfonia Vol. 1	CD	Freak Animal FA-CD-116	2020	€10.00
	Terässinfonia Vol. 2	CD	Freak Animal FA-CD-117	2020	€10.00
	Bookwar Records - Famous Lathe Cuts	LP	Bookwar Records book53	2017	€18.00
	Sonic Resonance (UPD Compilation 2018)	CD-R	UPD Organization UPD 183	2018	€10.00
	F/EAR THIS!	BOOK + 2 x CD	Stella*Nera - X / Silentes / Dethector	2020	€20.00
	BRÜSK - A Compilation of Harsh Noises	MC	Grubenwehr Freiburg GW/FR:19	2020	€8.00
	Replace	CD	Degem CD10	2011	€13.00
	Dies Natalis Invicti Solis	CD	Live Bait Recording Foundation LBRF056	2020	€13.00
	Escape	CD	Edition Degem ed05 / DEGEM CD 14	2016	€13.00
	Drop the Beat	CD	Edition Degem ed07 / DEGEM CD 16	2018	€7.00
	Transit	CD	Edition Degem ed08 / DEGEM CD 17	2019	€13.00
	20_20	CD	Edition Degem ed09 / DEGEM CD 18	2020	€13.00
	Speech after the Removal of the Larynx	LP	Fantome Phonographique OME 1025	2019	€20.00
	BRÜSK II - A Compilation of Harsh Noises	MC	Grubenwehr Freiburg GW/FR:23	2020	€8.00
	R L E (2020)	CD	Attenuation Circuit ACU 1024	2020	€5.00
	R L E (2021)	CD-R	Attenuation Circuit ACU 1033	2021	€7.00
	Made to Measure Vol. 1	LP	Crammed Discs MTM 1LP	2021	€18.00
	Miniatures 2020	do-CD + BOOK	The 62nd Gramophone Company - 62-GC1/2	2021	€25.00
	PRSNT (Ryuichi Sakamoto, Pascal Comelade, Laurie Spiegel, Lyra Pramuk, Chassol, Nicolas Godin, Pierre Rousseau, Pedro Vian, Pierre Bastien, Visible Cloaks, Kelman Duran, Refree, Lucrecia Dalt, Lafawndah)	LP + BOOK	Modern Obscure Music	2021	€55.00
	Drone Islands : Stellar	CD	Eighth Tower Records ETR031	2021	€13.00
	Well known Strangers - UNROCK's ARCHIVAL SINGLE BOX SET	14 x 7	Unrock 25	2021	€95.00
	DRONE-MIND // MIND-DRONE Vol. 8: AUME, K. ISHIGAMI, HIROSHIMABEND, BALDRUIN	LP	Drone Records MIND-08	2021	€16.00
	The Harmonic Series Volume 2	3 x LP	Important Records IMPREC500	2021	€45.00
	This is Tehran?	CD	30M Records - SMR002-2	2021	€14.50
	Gudelnaya Polyana - Solar Systo Togathering 2020	3 x CD set	Zhelezobeton ZHB-LXXXV	2021	€20.00
	Terässinfonia Vol. 3	CD	Freak Animal FA-CD-131	2021	€10.00
	Terässinfonia Vol. 4	CD	Freak Animal FA-CD-132	2021	€10.00
	44 x 44 - Orphax Reworked	4 x CD BOX	Moving Furniture Records MFR092	2021	€25.00
	TIME ENDS - A Tribute to J.G. Ballard's Tetralogy of Transformation (special ed.)	do-LP / CD	The Epicurean - cure 24 / Auf Abwegen AATP85	2022	€36.00
	Anthology of Exploratory Music from India	CD	Unexplained Sounds Group - USG071	2021	€13.00
	Anthology Of Experimental Music From China	CD	Unexplained Sounds Group - USG070	2021	€13.00
	An Oblique Reference to Zeros	do-CD	Fourth Dimension Records FD2CD132	2022	€14.00
	Wieza Cisnien - WC ei8ght: Zona Electronica	CD	Zoharum ZOHAR 250-2	2022	€10.00
	To Catch a Ghost - Field Recordings from Madagascar	LP	Sublime Frequencies SF 111	2018	€22.50
	CONTEMPORARY HOMEMADE MUSIC FROM SWEDEN	CD	Discreet Music DMCD02	2021	€15.00
	Visions of Darkness II ( (In Iranian Contemporary Music )	do-CD	Cold Spring CSR316CD / Unexplained Sounds Group USG079C	2022	€17.50
	RE/VERSION	CD-R	Krater Recordings KR05-002	2011	€7.00
	Ode to MARCO VERONESI	CD	ADN (Agnostics Dumplings Nursery) AgDuNu 001	2014	€13.00
	Hyperakusis II	CD	Audiophob auphcd 020	2014	€6.00
	Sintomas de Techno: Ondas Electronicas Subterraneas Desde Peru	LP	BUH Records BR149	2022	€25.00
	CYCLES II : Cyclic Law's 20th Anniversary Label Sampler	do-CD	Cyclic Law - 200th Cycle	2022	€19.50
	FLUXUS & NEOFLUXUS: STOLEN SYMPHONY	do-CD	Sub Rosa SR539	2023	€22.50
	BOH Sampler	CD	Korm Plastics	2022	€12.00
	LA MATERIA VERBAL - Antologia De La Poesia Sonora Peruana	LP	BUH Records BR158	2022	€25.00
	Bhogavati	CD	Gterma - GTERMA 060	2022	€13.00
	Territorio del Eco : Experimentalismos y Visiones de Lo Ancestral En El Perú (1975-1989)	LP	BUH Records BR148	2021	€23.00
	Музыкальное Приношение (Musical Offering)	CD	Cold Spring CSR326CD	2023	€15.00
	Terässinfonia Vol. 6	CD	Freak Animal Records FA-CD-151	2023	€10.00
	XKatedral Anthology Series II	do-LP	XKatedral XK 023LP	2023	€45.00
	Pole Reports from Space	do-CD	Bölt / Polish Radio Experimental Studio - BR ES17	2014	€18.00
	The Last Dossier	CD	Impulsy Stetoskopu 055	2022	€13.00
	In Fractured Silence	CD	Souffle Continu Rec. FFL087	2023	€14.00
	Fluxus & NeoFluxus: Stolen Symphony (Part I)	do-LP	Sub Rosa SR539	2023	€25.00
	Anthology of Electroacoustic Music from Finland	CD	Unexplained Sounds Group - USG084	2023	€13.00
	Soundscape-Komposition. Aktuelle Positionen	CD	DEGEM - CD 22 / Edition Degem ed11	2022	€13.00
	Struppig Schweben (LES MARQUISES / TROUM / KILLER+LICHT-UNG / ANDREW LILES)	CD	Licht-Ung / StRuPpiG tAnZeN	2023	€12.00
	Spectra Ex Machina - A Sound Anthology of Occult Phenomena 1920-2017 Vol.2	LP	Sub Rosa SRV462	2023	€19.50
	DAIS223 (DAIS X RETROSPECT) COMPILATION	MC + Portable Cassette Player	Dais Records DAIS223	2023	€100.00
	Anthology of Experimental Music from Latin America	CD	Unexplained Sounds Group - USG083	2023	€13.00
	NEW STATE OF FLUX	do-CD	Reverse Alignment RA51	2021	€15.00
	Nyarlathotep - A Tribute To Howard Phillips Lovecraft	MC	Eighth Tower Records ETR035	2022	€10.00
	In Memoriam : An Ambient Introspection Compilation	LP	Yann Feels Better - GKW001	2024	€20.00
	DRONE-MIND // MIND-DRONE Vol. 9	LP	Drone Records MIND-09	2024	€18.00
	DRONE-MIND // MIND-DRONE - bundle	5 x LP	Drone Records - MIND-BUNDLE	2025	€65.00
	The ReR Quarterly - Selections from Vol. 2	CD	ReR Megacorp - ReR QCD2	1991	€13.00
	The ReR Quarterly - Selections from Vol. 1	CD	ReR Megacorp - ReR QCD1	1991	€13.00
	EMERGE 20	3 x CD	Attenuation Circuit - ACU 1057	2023	€20.00
	NOISE FOREST	do-LP	Cold Spring - CSR340LP	2025	€35.00
	Deep Red. A Tribute to the Cinema of DARIO ARGENTO	CD	Eigth Tower Records - ETR042	2023	€14.00
	Herz aus G.R.O.S.S. Live Akt 2	do-CD	Ferns Recordings - stern_20	2024	€17.00
	8th Annual Report	CD	Unexplained Sounds Group USG081	2022	€13.00
	Anthology of Experimental Music from Indonesia	CD	Unexplained Sounds Group USG058	2020	€14.00
	ADN 40th Anniversary - 40 Years 40 Tracks	3 x CD BOX	ADN (Agnostic Dumblings Nursery) - AgDuNu 002	2024	€52.50
	Als die Welt noch unterging: German Post Punk Underground 1979-1984 (clear vinyl)	LP	Tapete Records - TR573	2024	€25.00
	Terässinfonia Vol. 5	CD	Freak Animal Records	2022	€12.00
	The Sounds of Sound Sculpture	LP	Art Into Life - AL034	2024	€30.00
	The Sounds of Sound Sculpture	CD + booklet	Art Into Life - AL034	2024	€20.00
	Love Potion	LP	Love Potion Number 999 (aka The Long Playlist - The Big Bubble Party)	2024	€25.00
	When Worlds Collide	do-LP	Fourth Dimension Records FD150	2025	€28.50
	Piitu Lintunen presents : 7Ai9	LP	Sähkö Recordings - PUU-54	2023	€25.00
	Terässinfonia Vol. 7	CD	Freak Animal Records	2024	€12.00
	The Neuromancers. Music inspired by WILLIAM GIBSON's Universe	CD	Unexplained Sounds Group USG105	2025	€13.00
	Электронная Музыка АНС (ANS Electronic Music)	CD	Cold Spring - CSR307CD	2025	€15.00
	KRAUTROCK ERUPTION (An Introduction to German Electronic Music 1970-1980)	LP	Bureau B - BB478 / Ventil Verlag BB478	2025	€26.50
	Anthology of Post Industrial Music from BALKAN	CD	Unexplained Sounds Group - USG061	2020	€14.00
	Morality	do-CD	Fourth Dimension Records FD2CD165	2026	€17.00
	In Fractured Silence	LP	SouffleContinu Records - FFL087	2023	€27.50

“artists” entries in album descriptions

AALFANG MIT PFERDEKOPF / EMERGE

Die kosmische Zygote / Hináphapi

Format: MC Year: 2024

two Drone Rec. 7" artists in a surrealistic marriage: first re-issue by the fine taalem mCDR from 2006 (23 min, re-mastered 2023), plus lots of unrelased stuff: a new epic collaboration piece called "Hináphapi" was created in 2023 (36 + min!), and two mysterious "intermissions" ("Pausenmusik") fill the gaps and sublime black holes (another 30 min)...lots of unidentifiable drone objects surrounding your ether synapses.. C-90, handpainted cover

€9.50

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ABECASSIS, ERYCK & FRANCISCO MEIRINO

La Gueule du Loup

two Belgian (dark) ambient artists in a very fruitful collaboration, extremely ethereal and super slow driftings with occasional tones and harmonies appearing like ghosts.. - "A blurred movement on the edge of our peripheral vision... Sensed but never grasped, felt but never seen. A passing between two worlds." - nicei digipak design, lim. 200 copies

€13.00

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ATRAX MORGUE & CONTAGIOUS ORGASM

Forced Entry / N.C.W

field recordings from the Dachau Concentration Camp memorial site, the steps and voices of people, the environment, eerie rumblings and object sounds of the sites and buildings (following the believe that you can't do "music" about the holocaust)... + processed on one track in a characteristic way by diverse international sound artists, such as FREIBAND, B*TONG, SATORI, etc.. - a very ambitious project, creating a unique contextual atmosphere!

€13.00

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EMERGE + GERALD FIEBIG

Flöten / Kinder

Format: CD-R Year: 2015

curious pieces created from children's flute playing and other sounds they made (laughing, speech, chuckles...) recorded during a workshop at an elementary school in Augsburg, Germany: a 'pure' collage by FIEBIG, a voice/noise piece by EMERGE considering also the oral material, plus a collaborative drone piece by both artists, who are also behind this great label !!! Lim. 33 copies, special cardboard cover

€8.00

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ENGLISH, LAWRENCE & WERNER DAFELDECKER

Shadow of the Monolith

Format: LP Year: 2015

first collaboration by these two sound-artists from Australia & Austria, working on "atmospheric, hydrophonic and ionospheric" source materials, resulting in mesmerizing microsound ambience..."a record that drifts from dense microscopic cracks to vibrant shifting frequencies, from sections of profound white stillness to storms of intense activity, from intense light to improbable dark and from immersive macro-spaces to non-spaces" ; lim. 300 on a new Greek label

€17.50

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ESCALLON + ISAZA

Nubes

Format: mCD-R Year: 2018

two Colombian sound artists in first-time collaboration, MIGUEL ISAZA is know from various releases on many international labels already... together they created a very subtle sounding experimental drone one-tracker (21+ min.), merging field recordings, digital / electronic sounds and sub-bass atmospherics...

€5.00

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ESPLENDOR GEOMETRICO

Tarikat

Format: do-LP Year: 2025

first ever vinyl re-issue of this rare DAFT Records album from 1997, the tracks were already recorded 1986-1989... ~16 tracks, remastered for this release, that show E.G.'s unique sound in the eighties close to other albums as Arispejal Astisaró, Nador, or Sheikh Aljama. This is a period especially appreciated by E.G. fans, where they developed their original and unique style that influenced many later groups and artists of industrial music and even certain forms of techno.~ 400 copies black vinyl

€32.50

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FEAR DROP

No. 16: LA ZONE GRISE

new studio recordings by these four true avant- impro & drone artists from Belgium and France in interaction, subtle jazz elements and narrations merge with weird instrumenations and noises... - *a collage of dreamy musique concrète with desolate instrumental and vocal interventions, masterfully balanced out by Vincent Epplay.* - comes with inlay, 500 copies pressed, cover design by MEEUW, mastering STEFAN MATHIEU

€23.50

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GUILLET, MICHEL

Behind nothing

Format: CD Year: 2011

refined noise-compositions by this french (?) visual artists and musician, very dynamic & with lots of details & cut-ups, to discover

€13.00

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GUIONNET, JEAN-LUC & MIGUEL A. GARCIA

Siticidelhous

Format: CD Year: 2018

both sound-artists met 2016 in a conservatory in Spain where they could experiment with church organ and electronics => two long pieces that play with your perception and attention emerged - sounds seem to disappear completely in silence, but if you increase the volume you listen to completely new elements, a new soundworld arises.. lim. 200

€12.00

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HAKOBUNE

Vitex Negundo - de constructed

Format: CD Year: 2015

remixes of HAKOBUNEs last years 'classic ambient' album by Japanese IDM, electronic & experimental artists, lots of new names to discover, very good material for example by: DJ NOBU, TIASHIN, KOBA, KATSUNORI SAWA... 10 tracks

€8.00

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HAMILTON, SAM & JAN ANDERZEN

Brombron 24: Time Banking

Format: CD Year: 2013

collaboration of these two artists (ANDERZEN is the main man from KEMIALLISET YSTÄVÄT) from Finland & New Zealand, who like all others in the BROMBRON series met for some days in a small studio in Nijmegen, NL => creating a weirder kind of relaxed electronica & 'wicked pop tunes'.. if you're looking for something new / unusual / exciting - the Brombron series is alwys a good place to start !! lim. 300 special cover

€10.00

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HIGASHI, YOKO & LIONEL MARCHETTI

Okura 73°N-42°E

Format: do-LP Year: 2018

ENGLABÖRN (2002) was the first album by the great Icelandic composer who sadly died in Feb.2018; this re-mastered vinyl re-issue has a full bonus LP with reworkings and different versions of his tracks by various well known artists as HILDUR GUDNADOTTIR, A WINGED VICTORY FOR THE SULLEN, RYUICHI SAKAMOTO, etc. and JOHANNSSONs own variations.. .. gatefold cover, translucent banderole, download code, 180gr. pressing

€32.00

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JUPITTER-LARSEN, G.X. & ALLAN ZANE

Banjax (artist's edition)

Format: CD Year: 2005

lim. artist's edition of 100. CD housed in silk-screened draw-string bag, signed and numbered print by both artists. LAST COPY

€24.00

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KASSEL JAEGER

MMXX-13: Vol Sombre

Format: LP Year: 2020

13th release in the new series that presents 20 artists from the experimental sound-art scene with very nice design / concept => dedicated to the year 2020 there will be 20 x 20 min. compositions on one-sided clear vinyl, with laser engraved artwork by the artist on the B-Side, lim. to 500 copies => Drone Records fave artist KASSEL JAEGER unfurls slowly pacing instrumental drones / drops, circuiting each other like in a timeless slow-motion dance, harmonic and dense..

€23.00

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KELLER, ALEX & SEAN O'NEILL

Kruos

Format: LP Year: 2017

recommended debut release of these U.S. sound artists, who use field recordings and vintage electronic devices for their performances and installations... "It is difficult and challenging at times, and there is not much to grab on to as far as conventional rhythm or melody, but it excels in abstraction. In many cases the result is far removed from the source material, but the environment the two create on here is just as fascinating as any natural one that could be captured." [Creaig Dunton/Brainwashed]

€20.00

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KG AUGENSTERN

Tentacles

first collaboration by these two GIZEH Records artists who met on a label night in Belgium (JEAN D.L. has already releases with JULIA KENT and RUTGER ZUYDERVELT / MACHINEFABRIEK), performing very dense, at times quite powerful & noisy 'experimental ambient drone' on double-bass and guitar, but there are also more quiet passages, full of tension and metallic resonances... lim. 50 printed cardboard cover

€9.00

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LINDWALL, HAMPUS

MMXX-15: Lost & Found

Format: CD Year: 2016

the first collaboration album by these Ambient artists from San Francisco. based on all kinds of instrumental, electronic, live and field recording sources, using special concepts and techniques.. -"Wandering Eye is a sonic tribute to a cold night on a mountain top, inhabited by a peculiar nostalgia of light and diurnal agitation. From the first to the last track, from the spleen at dusk to the rebirth at dawn, this humble album only asks us to forget about the world and enjoy the here and now." [Dotflac]

€15.00

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SABI / KIYO

71:36

"...the third installment in Zealley's "How To Explain Silence To A Dead Hare" series of vinyl project editions. The album showcases selected film, video, installation and performance music by Zealley, commissioned by visual artists - including Luis Jacob, Joey Medaglia, Benny Nemerofsky Ramsay, and Scott Treleaven." - lim. 300, numbered, inlay

€25.00

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[-HYPH-]

Irrelevance.aif [step 2]

Format: mCD-R Year: 2004

“you.re accepted. you.re integrated. even if it hurts, it won.t hurt.” Special edition of an installation soundtrack from the ambitious Hamburg-based sound-artists Nicolas Wiese aka [HYPH]. Samples & found sounds are interfused with droney waves in a collageous way and build a rather unseasy soundscape...

€5.00

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[LAW-RAH] COLLECTIVE, THE

Inspiration

Format: CD Year: 2008

"this time the [law-rah] collective is martijn pieck and bauke van der wal. bauke is the founder and original member of the collective, hence the first releases were the result of his twisted mind. during the years of law-rah's existence, he has collaborated with several people and re-evaluated the collective nature of the project. this in turn has changed a solo project with a weird name to a true collective of artists in both the audio and visual arenas. martijn and bauke have known each other since 1993 and shared many hours making music together. however, in the mid 90's both martijn and bauke went in different directions when it came to creating electronic music. in the autumn of 2007 the time was right and they once again started making music together. with this release martijn has become a full member of the collective and ideas for many future projects are already locked into their collective minds. "it's a new collective now. so a new i ... i (me) becomes us. after incarnation and isolation, now inspiration." (bauke van der wal) compared with the collective's conceptual works like '1953', which was an earlier release by bauke and dutch writer, vocalist and member of the collective hiekelien van den herik, this album's subject is a more private and subliminal one. all track titles are related to baukes and martijns home town utrecht, and to the history they shared there over the years. a quote from a band both bauke and martijn appreciate is printed on the cover as a good example of their 'inspiration' and perfectly illustrates their thoughts about this town: "this is the place where all roads meet, the place where all is secret. the place where time stands still in the comfort of night and love becomes will in the presence of light. i never want to leave..." (taken from 'terminus' by psychic tv) musically, 'inspiration' can be clearly identified as a new step in the [law-rah] collective's exploration of their electronic microcosm. sub-bass lines and drones interact with beautiful idm'ish melodic lines that are complimented by pulsing beat sequences - inducing an overall majestic and sometimes melancholic impression. this music is filled with deep, haunting and phantasmagorial sounds that are expertly adapted to give one's fancy a full scope of emotion. more simply put, this is a inspired journey through two persons' past and present. "the basics from the [law-rah] collective always was that you create your own imaginary movie and we'll take care of the soundtrack..." (bauke van der wal) [full label info] www.ant-zen.com

€12.00

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[SIC]

Gorilla Masking Tape

Format: CD-R Year: 2004

Hinter [SIC] verbirgt sich die junge Nachwuchs-Elektronikern Jen Morris aus Montreal, die hier auf sechs Stücken analog-elektronischen dark ambient entwirft, der aber sehr UN-minimal ist, d.h. sich ständig verändert & neue Sounds & Färbungen aufnimmt. Sehr subliminal & z.T. mechanisch-maschinell, sehr zu empfehlen ! “Having listened to and zoned out on this release at least half a dozen times, it should be obvious what it is that is so compelling about [sic]'s compositions of dusty long drones, deep ambient spaces and bump-in-the-night tension, but it's not. On the one hand, this is difficult listening: all uneasy sounds and dischordant timbres rubbing up against one another to create an ambiguous feeling of dread. On the other hand, for those familiar with the work of like-minded artists like those featured on the quasi-legendary "Isolationism" compilation, [sic] fits perfectly into a already-defined niche of dark, brooding ambient characterized more by its claustrophobia than by its use reflection of space as an expanse. I could tell you that Gorilla Masking Tape is a beautiful, haunting record, or that it's alpha-wave inducing at the right volume, or that it's a perfectly quiet record for people who lead unquiet lives, but none of that really captures the force that these tracks embody. Perhaps the record's most defining characteristic is that it is indeed so malleable that it can be both loud and quiet, both serene and disturbed, both beautiful and terrifying and that it does all of this effortlessly. I often wonder what more can be said about music like this that is both barely there and a force of nature all at once, depending on your volume knob. I always think that it will be impossible for someone to release yet another essential dark ambient disc in a world where artists who do this sort of thing tend to have voluminous discographies of equally affecting work already. I think that, and then I hear a record like Gorilla Masking Tape and it suddenly all sounds fresh and important and essential again and I'm left wanting more. It doesn't get much better than that.” [Matthew Jeanes - Brainwashed Brain]

€11.50

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2KILOS & MORE

10

Format: do-CD Year: 2013

To celebrate the 10 anniversary of 2kilos &More, Audiophob presents a new aspect of the project on a double CD release. The first CD of this set contains live recordings of tracks from the previous releases as well as an unreleased remix the duo created from material provided by Rapoon (founding member of Zoviet France). The live recordings originate from two festival appearances of the band in Nancy and Jouy Le Moutier and feature the guest vocalists Flore Magnet and Phil Von (both Von Magnet) as well as Black Sifichi. Some of the songs can be found for the first time on CD with lyrics, as they have been released as instrumental tracks so far. The second part of the release features new approaches to the 2kilos &More sound as provided by the remixes from a remarkable selection of artists (Rapoon, Imminent, Von Magnet, Bérangère Maximin, The Berg Sans Nipple, Needle Sharing, Roger Rotor, Spherical Disrupted, Muckrackers, Picore and Wild Shores.) Besides different variations of Ambient and Industrial/Noise sounds, more unexpected approaches from Post-Rock and Drum'n'Bass can be found. (auphcd019) https://audiophob.bandcamp.com/album/10

€16.00

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400 LONELY THINGS

Mother Moon

Format: CD Year: 2023

The new album from 400 LONELY THINGS, produced by WILLIAM BASINSKI, is a dark ambient, sample-based séance to the Banning Mill - a real-life decaying \"mansion\" and haven for artists, freaks and misfits in the backwoods of the American Deep South in the 1970s-1990s - and an extraordinary piece of art that lived there. An archaeological excursion in found sound - wandering through the art and memory of a real place, \"Mother Moon\" is an origin story for 400 Lonely Things. In the 1990\'s, Craig Varian was fortunate enough to frequent the Mill in the years before it closed. It was here that he was exposed to the artwork of Richard Scott Hill. The impact is hard to overstate. Built on the Snake River in the early 1800\'s as a textile mill, it operated until the late 1960\'s and when its doors closed on that era, and reopened on another. In 1971, the Mill was purchased by a young wealthy \"eccentric\" (to use the vernacular of the time). He was openly gay in the deeply bigoted Old South, a collector of fantastic and surreal art, a drug enthusiast, an owner of at least one mental illness, and a self-described entrepreneur with a vision. In the years that followed, he turned this sprawling, mildewed structure into a private hippie art collective, music venue and refuge for Southern misfits - gays and gender-benders, visual artists, musicians, mystics, ghost-hunters, wizards, pagans, intellectuals, poets, nerds and psychedelic explorers by the dozens drifted in and out, creating their own alternate universe in its hundreds of rooms. One of these artists was Richard Scott Hill. Hill\'s work stood apart from everything else at the Mill. It was all black and white or hand-coloured photography - typically stark portraits of people - almost always wearing masks. These photos were disturbing and disarming, hilarious and crazed, unsettling and aggressively surreal in their confrontational simplicity. His work both captured and fed into the Mill\'s sinister yet playful undercurrents of mania and depression. By the conservative 1980\'s, the Mill became a very different place. A dark and quiet ectoplasmic hangover haunted its rooms with just a handful of tenants, remaining so until its doors closed for good in the late 90\'s. Varian had friends that lived there, and after hearing quiet legends of the Banning Mill since the late 80\'s, was finally able to visit. While the Mill itself was transformative enough, turning down a disused hallway, Varian encountered the image on the cover of this album and quite simply became a different person. A lifetime spent as a Southern misfit had led to fruitless artistic, philosophical, spiritual and psychedelic pursuits as relief. At this time, an obsession with visual collage and audio sampling had been brewing and upon seeing this image, boiled over. He realized that the sounds and images he\'d been seeking had been sought by many others and that for a time, these seekers had lived here in the secret winding halls of Banning Mill in the wilds of the Deep South. In particular, this nude cow-faced woman was the Minotauress who sat at the heart of that maze. Since the days of the Mill (and Varian\'s subsequent purchase of Hill\'s \"Minotauress\" shortly before the Mill closed), Varian, along with best friend and musical partner Jonathan McCall, found a thread of music they\'d been consistently making yet had previously failed to notice - melancholic instrumentals with weathered sampling at its core - going back to their earliest recordings in the late 1980\'s. Eventually, this music was called 400 Lonely Things, and eventually an album would be attempted to honor both the Mill and Richard\'s \"Minotauress\". The Mill has been closed for about 25 years now and all that remains of it is a gutted skeleton covered in yellow caution tape. After a dozen albums, Jonathan McCall has since passed on to the next realm. But this album, born out of that first visit to the Mill, is finally here - an imaginary soundtrack to the many years of solitude the Minotauress spent hanging in that musty hallway. For this album, Varian reached out to Mr. Hill and a friendship and artistic relationship has developed. Richard - now in his 80\'s and an established figure in the established art world - still creates fantastically bizarre works daily from his home studio, just a mile from the remains of the Mill. He says that the music of 400 Lonely Things is from another dimension and he hopes you enjoy it and his previously unpublished art gracing the cover. Presented in a 6-panel spot-varnished digipak. credits released April 11, 2023 Produced by William Basinski Additional Mixing and Mastering by Preston Wendel Covert art by Richard Scott Hill \"Mother Moon is a cypher that saves an important hidden fragment of cultural history from erasure.\" Ben Ponton, Zoviet France. \"Mother Moon is darkness calling. It will take you to the outer limits and leave you there. Guaranteed to twist your mind.\" Andrew Hulme, O Yuki Conjugate. \"A wistful, burrowing, beautiful nightmare.\" Daniel Kraus, NY Times Best Selling Author of The Living Dead with George A. Romero, and The Shape Of Water with Guillermo Del Toro. https://coldspring.bandcamp.com/album/mother-moon-csr319cd "It's one of those weeks... Being a former ginger/redhead, I have problems handling the moist 25-30 Celcius) heat in the Netherlands. So I hardly get to do anything, and I get distracted all the time, like work and such. So I have been trying to start a review of "Mother Moon" by 400 Lonely Things several times, and each time I end up just listening and floating away, Drifting on the waves ... And I didn't even feel bad about listening to it over and over and over ... Produced by William Basinski, 400 Lonely Things is a project by Craig Varian inspired by recordings around, based in, or related to an old mill. A beautiful PDF was sent to us, and it might well be part of the Bandcamp download, but how you get your hands on it when you get the CD: I don't know. The 400 Lonely Things concept focuses on the arrangement of lost and found sounds, and the melancholia is certainly audible in the release. Also, the journey aspect is very well set in this release, the journey being the descriptive part of environments through sound as a medium. So in many areas where the boxes should be ticked to make a release interesting, those boxes are actually ticked. Musicwise, "Mother Moon" is an absolute beauty. Almost 80 minutes, with deep drones, minimal melodic lines, scarce structural sounds (no rhythms), ambience and, on occasion, a mesmerizing voice preaching solitude and melancholia. And here and there, an ever so slight 'touch of Coil' (for example, in "In Darkness"). So at this point, I would say: Get the album and don't worry too much about everything else. But the booklet and combined conceptual approach is a bit of a downer for me, as it turns out. I mean: Concepts make many releases I know/heard/have enjoyable, and I know all about it as an artist myself. But in a weird way the conceptual approach is so elaborate and massive that it almost forces me to think about it. And all I want to do is just enjoy the flow, as a psychonaut, ride the waves and not be bothered too much with all that mumbo jumbo. But that's just me. I think... I hope... Other than that: Go Flow, Go Dream, Go Listen, Just 'Be' ..." [BW / Vital Weekly]

€15.00

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7JK (SIEBEN & JOB KARMA)

Anthems Flesh

"Silentes presents a new collaborative effort between two prominent artists of Italy's electronic and experimental scene, Corrado Altieri (Candor Chasma, Monosonik, Uncodified) and Gianluca Favaron (ab'she, Under The Snow, Z'been). Inspired by Jean Baudrillard's essay of the same name, "The System of Objects" offers seven compositions combining field recordings, analogue textures, computer music and concrète sounds. Altieri e Favaron dig deep in the unconscious of the french philosopher, devising a hypothetical music score of his manifesto on the relations between objects universe and consumer society ideologies: drones and digital pulses, processed tapes and multi-layered frequencies make for a voyage to the borders of ambient, noise and radical experiments." [label info] www.silentes.net "Releases on Silentes are getting a bit more sparse these days, perhaps because of the economic tide etc, but I am also happy to note that they do more and more LPs. However the first new one is a CD with Gianluca Favaron on computer and one Corrado Altieri, who gets credit for electronics and tapes. Favaron is a man whose work appeared a lot on Silentes (as we'll see here too), and I never heard of Altieri. The eight tracks on 'The System Of Objects' are relatively short: the whole album doesn't last more than thirty-five minutes and it's inspired by the book of the same name by Jean Baudrillard. In much of Favaron's work ambient and drones play an important role, even when they are created with the use of the computer. In this particular work however we find him in a somewhat more noisy role, owing more to musique concrete than to ambience. The whole thing has some heavily treated acoustic feel to it, creating seven quite densely knitted pieces of electronic music. Be this field recordings, be this acoustic sounds created with contact microphones, or whatever else, it's treated into great monolithic blocks of sound. In only a few pieces this kind of minimalism is left behind and more things happen at the same time, such as in the opening piece 'Objects And Time 1'. An excellent release of highly vibrant electronic music. Quite raw and intense, exactly the kind of noise I like. Not meaningless and pointless carrying on forever, but seven sharp, contrasting blasts." [FdW/Vital Weekly]

€12.00

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ALU

Autismenschen

Format: CD Year: 2005

Späte Veröffentlichung des ersten, bisher unveröffentlichten Album von 1980 von dieser deutschen Paranoia-Elektronik / „New Wave“-Gruppe, die aus zwei der drei Mitglieder der Krautrockband SAND bestand (deren LP „GOLEM“ auf World Serpent wiederveröffentlicht wurde!) . Liner-Notes von DAVID TIBET! “About the band: Alu was a seminal German synth-punk band active 1979-83. This CD is their unreleased first studio album from 1980. This is the unreleased first studio album by one of the pioneering German synth / electronic projects. Liner notes by David Tibet. The project of some of the members of Alu were in prior to Alu, Sand, enjoyed a fantastic revival a few years back (thanks in great part to David Tibet). Unearthing this release will bring much joy to anyone interested in the pioneering sound of German electronic music from the late 70s to mid 80s. Alu released two live LPs, a 7", and a small quantity of cassettes; all of these releases are, tragically, out of print. For those to whom Alu is a new name, comparable audio would be Suicide, Throbbing Gristle (circa 20 Jazz Funk Greats), Esplendor Geometrico, or Algebra Suicide, not to mention myriad electronic German bands who existed concomitant to Alu and have enjoyed recent reissues of their own, including Phonophobia, Die Todliche Doris, and Thorax-Wach. Labels with similar artists include Zick Zack and Twisted Knister. For the young'uns who like Wolf Eyes, this may be considered a worthy ancestor... Alu was born from the ashes of the seminal project Sand, whose releases were issued a few years ago through the persistence and passion of David Tibet. Not coincidentally, David Tibet also provided liner notes for this release. This release comes with a booklet of lyrics (in German), photos, plus a short biography (in English) of the band. Translations of the lyrics and other information on the band will be up soon at their recently created website, alugenerator.com. “....you may call me a retro freak, I prefer the old stuff, like Alu, or The Screamers or Suicide, with whom Alu has in common that they both combined the speed and energy of the punk rock, combined with analogue synthesizer stuff. Some of the more lengthy pieces, such as 'Halt Dich Fest' sound, with lenghty guitar doodlings show their krautrock background, but Alu is at their best in their shorter pieces: a screamy voice, full of doomsday paranoia, a continuous rhythm-box, simple melodies on the organ and guitar in a distorted mood. The real stuff that can't be beaten by a groove-box and microphone. The best re-discovery of 2005!” [FdW / Vital Weekly]

€20.00

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ALVA NOTO FEAT. MARTIN L. GORE & W. BASINSKI

Subterraneans

Format: 12inch (45rpm) Year: 2022

NOTON is pleased to announce the release of Subterraneans, a collaborative EP featuring Alva Noto, Depeche Mode’s Martin L. Gore and William Basinski’s cover of David Bowie’s homonymous song. Recorded in 1975, Subterraneans is the closing song of David Bowie’s 1977 album Low. The composition was initially intended for the soundtrack to the 1976 science fiction drama film The Man Who Fell to Earth. This song has a personal meaning to me. It was partly recorded in West Berlin at the Hansa Studio. According to Bowie, “Subterraneans” refers to the people who remained in East Berlin and lived in East Germany after the wall was built. In 1977 I was twelve years old and among the “Subterraneans” the song evoked. It still resonates within me, forty-five years after its original release.” – Carsten Nicolai A tribute of the three artists to Bowie’s work, the EP features an instrumental version and an edit by Alva Noto on electronics with Depeche Mode’s Martin L. Gore on the vocal and William Basinski on the saxophone.  Composed by David Bowie Cover art designed by Carsten Nicolai Mastering by Bo @ Calyx Credit: Alva Noto (Electronics) Martin L. Gore (Vocals) William Basinski (Saxophone)

€18.00

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AMBARCHI, OREN

Destinationless Desire

Format: 7" Year: 2008

"Electric guitars, organ, samples, bells, percussion and motorised cymbal recorded at BJB Studios, Sydney with additional overdubs made at home 2005-2007. Gratitude to Fairport Convention and Boris D Hegenbart. This is the 5th in the series of Touch Sevens - 7 vinyl only releases. 7 vinyl was the quintessential format for popular music. Today, it is an undervalued and mostly promotional medium, used as a fetishistic signpost to a time of musical authenticity and a healthy popular culture. It might seem like another retrograde step to launch a vinyl series just as the download format threatens to dominate, and indeed there is an element of the rear view mirror... the generation of Touch artists who grew up with vinyl [and cassette] still feeling a strong emotional attachment to it. This series is more than that... an overtly critical, non-digital statement is supported by treatments of audio work which cannot be applied to digital formats - the sonic texture, the use of a locked groove, the A & the B and the additional dimension of the visual counterpoint. As for the aspect of audience participation, we choose not to specify the RPM on the label, encouraging the listener to experiment with playback options and personal preferences. An attempt to make music that works at both speeds. The front cover might actually be the back cover..." [label info] "...Using electric guitars, organ, bells, samples, percussion and motorized cymbal (!), Ambarchi has created to dramatically different pieces. The A side is a woozy, washed out underwater sounding loopscape, peppered with record crackle (unless that’s coming from the record player, either way, it sounds great!), like a slightly jauntier, less melancholy Oval, major key melody, all softly sunshine- y, a dreamily hypnotic stretch of soft swirl that could go on forever. The B side is much darker, long streaks of shimmery low end beneath haunting slowed down vocals, mournful and mysterious, the vocals and the guitar drift and shift, all wound up in and around each other, throughout, bits of electronic glitchery, smears of muted buzz, snippets of conversation and dialogue, but all that stuff seems to be woven into an undulating backdrop for Ambarchi’s ghostlike disembodied blues. As always, packaged in super striking thick matte sleeve with gorgeous photos and layout from Touch head honcho Jon Wozencroft." [Aquarius Records review] www.touchmusic.org.uk

€7.50

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AMBARCHI, OREN & MARTIN NG

Fateless

Format: DVD Year: 2006

"Asphodel's premiere DVD release features the Australian duo, turntablist Martin Ng and guitarist Oren Ambarchi in collaboration with visual artists Tina Frank and Robin Fox for an AV expedition into the sublime and fascinating worlds of Fateless. Since their teens, the Australian electronic composers have produced with congruent obsessions in mind. Their convergent interest in weird sound led to a long-lasting, musically productive friendship. In the summer of 2000 after Ambarchi's own What Is Music Festival, the two began formally producing together as respite from what they refer to as 'a particularly long hot summer of antipodean improv noise fests.' Like the harmonic meditations, space is filled with bold resonance, expanding and contracting in tandem with Tina Frank and Robin Fox's visual interpretations." NTSC: 0; Stereo + 5.1; 4:3 ratio. Total running time, 84:19." [press release]

€18.00

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AMENRA / CAVE IN / MARISSA NADLER

Songs of Townes van Zandt Vol. III

Format: LP Year: 2022

listen: https://neurotrecordings.bandcamp.com/album/songs-of-townes-van-zandt-vol-iii Neurot Recordings in conjunction with My Proud Mountain announces the third record of the Songs of Townes Van Zandt series, which was started in 2012, featuring various artists covering the works of beloved American singer-songwriter Townes Van Zandt. Songs of Townes Van Zandt Vol. III features new renditions of nine classic tracks as interpreted by AMENRA, CAVE IN, and MARISSA NADLER. Steve Brodsky of CAVE IN stated about being part of the record, “In the winter of 2010, I did a solo tour with Scott Kelly of Neurosis and Bob Wayne. It was the three of us and Ansgar Glade traveling in Bob's ‘green machine’ van around the UK and Ireland. At every show, Scott played the song ‘Caroline’ and each time I heard it, I found myself enraptured. This was my introduction to Townes Van Zandt. Pretty cool that ten years later, Ansgar has given me and CAVE IN this great opportunity to show our love for TVZ's music.” Lennart Bossu of AMENRA says, “Being Belgians, the very American folk and country of Townes Van Zandt is not exactly the music we grew up listening to, but upon discovering his songs in our early twenties, they immediately struck a chord with us. Even people who do not understand the lyrics can probably tell that they are listening to someone who has lived and suffered, and, oddly enough, at the same time find deep comfort in his soothing voice. It is the kind of comfort that often defines great music or art in general, and it made the prospect of trying our own hand at a few of his songs no less daunting. Nonetheless, when we were asked to be part of this collection of Townes Van Zandt cover songs, we felt excited and compelled to be part of it, as, in a way, it offered us a chance to do something in return for the great songs he has given us, and also be a part of a series of albums that are almost exclusively comprised of artists we deeply respect.” Marissa Nadler offers, “I’ve been a fan of Townes Van Zandt’s music for nearly as long as I’ve been writing songs. When I was starting out, a friend introduced me to Townes’s music, and I pretty much instantly fell in love with both the rawness of his songs as well as the intense sense of longing expressed within them. His lyrics are haunting and evocative and have inspired me endlessly. These melodies will linger with you, year after year, and hopefully keep you company along the way.”

€25.00

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AMINI, SIAVASH

A Mimesis of Nothingness

During the 1870s, Charles François Daubigny, in the last years of his life, took increasingly to painting nocturnal scenes en plain air from his boat studio, Le Bottin. This was a period in time when the idea of the musical nocturne had progressed from being an indication of what point during the evening a particular piece of music should be played, towards becoming an articulation of the unique atmosphere and emotion occasioned by moonlight. Elsewhere in France, Edouard-Lean Scott de Martinville conceived and produced the phonautogragh. This device, appearing years before Edison’s phonograph, enabled sound, for the first time, to be captured. Unlike Edison, however, de Martinville neglected - or saw no need - to provide the means to playback the recording. Rather, a visual representation was captured on a lamp black cylinder. It wasn’t until 2008 when researchers at Berkley University used digital technology to recover the audio. The recording, the first ever made, was of a human voice singing Au Clair De La Lune. Written and produced by Michael Begg Mixed and mastered at Captains Quarters, East Lothian A Moon That Lights Itself was premiered at the Royal Scottish Academy, Edinburgh on September 16th 2016, with cello accompaniment from Clea Friend The work was commissioned by National Galleries Scotland, in conjunction with the major exhibition, Inspiring Impressionism: Daubigny, Monet, Van Gogh, and was completed with the generous support of the Hope Scott Trust. https://omnempathy.bandcamp.com/album/a-moon-that-lights-itself REVIEW: "A Moon That Lights Itself was commissioned by the Scottish National Galleries as part of the Inspiring Impressionism exhibition, focussing on the works of Charles François Daubigny, Claude Monet, and Vincent van Gogh. On September 16th 2016, Michael Begg (of Human Greed / Fovea Hex) performed the work, amidst the exhibition space, in the auspicious surroundings of the Royal Scottish Academy situated on the Mound in Edinburgh. Drawing on the works of French landscape artist Charles François Daubigny, Begg's commission was described as a "work for electronics, strings and moonlight". I must confess that of the three artists featured in the exhibition I wasn't at all familiar with Daubigny. Consider Begg's work with Human Greed where their first release Consolation featured a moonface in Deryk Thomas's artwork on the cover; Black Hill: Midnight At The Blighted Star, the title of a later album which included 'Dalkeith Night' speaks for itself; and even Dirt On Earth featured a blackened nightscape on the cover it's perhaps particularly apt that Begg focusses on Daubigny's later work and specifically the twilight and nocturnal scenes of his later years, from which he painted while ensconced on a studio boat on the Oise. A Moon That Lights Itself is set in the context of mid to late 19th century France, and the cusp of impressionism, modernism, together with the earliest known sound recordings by Edouard-Lean Scott de Martinville and his phonautograph invention. A Moon That Lights Itself moves from dusk to dawn in the course of its 9 tracks. From tranquil drones overlaid with tumbling piano notes and solemn cello movements the opening track 'Le Crepuscule' moves into drifting drones before 'Moonrise' which like many of the tracks on A Moon That Lights Itself blends location recordings into the compositions. Here water in the form of lapping waves and crashing waves, bird chatter and the quack of ducks - ducks were a recurring motif within Daubigny's impressionist landscapes - are found amidst passages of glistening drone and moments of sombre piano and cello swell. Still and serene, glinting flourishes merge with stirring movements, its lapping waves resembling the tidal pull, and backward spinning electronics. 'Moonlight' bathes in the glow of light glistening sound textures set against deep reverberating rumbles and piercing glassy shrieks. Bells ring out before it moves into quieter echoed atmospherics. Daubigny often painted from his floating studio on a boat on the River Oise, and 'Le Bottin' aptly illustrates this with watery ripples dappled with tender piano notes and broader sound shudders, flowing into an end section comprising elegiac strings and melancholic synths. With its rippling metallic sounds, harsher noise elements and sluggish voice recordings 'The Birth Of Modernism' is much more abstract in composition. Those voices, taken from the 1860 phonautograms of Édouard-Léon Scott de Martinville, like modernism are almost blown in on a wind like drone. Scott de Martinville's recordings, sensitively mixed as another layer of sound here, were never intended for playback but recent research managed to transform these into playable sound files, discovering a male voice, probably of Scott de Martinville, singing a partial segment of the French folk song 'Au clair de la lune', which fits nicely here as in English it translates to 'In the Moonlight'. Elsewhere on 'The Birth Of Modernism' voices and bird calls are rendered as electronic squiggles, reflecting the movement away from realism to abstraction, perhaps. Begg returns to his palette of location sounds on 'Daubigny's Reverie' where lapping water and duck quack augment the shimmering sound spans. The drone filled atmospherics create a sense of melancholy; a captivating dreamspace only broken by the call and sing of birds in flight. Those flying birds could be seen as sound metaphor for the transition from Daubigny's impressionism to a new world of abstract representations, something furthered on 'Between Two Movements' which unfurls to a two pronged approach where undulating drones and glassy shrill frequencies are cast against evocative classical strings. It could even be electronics, Begg has an uncanny ability to sidestep the listener with his use of instrumentation that sound like something else. 'A Last Dance Under The Moon' moves to doleful cello sweeps and forlorn nocturnal electronics, achieving a graceful and mournful presence, largely due to the Clea Friend's cello score. A Moon That Lights Itself closes with the arrival of 'Dawn', a classy ensemble piece of piano score and cello, contrasting sombre cello movements with more optimistic and joyful piano notes, and as the sounds coalesce it seems to herald the new whilst paying homage to the past. Begg referred to this in a blog for his performance at the Royal Scottish Academy as being a "pochade", a sketch, "for Daubigny, for the moon, and for an extraordinary time in the development of European culture, when our sense of capturing the world around us and within us took extraordinarily bold, though markedly sensitive, steps forward." Recorded immediately after the performance, Begg once again proves himself to be a superlative composer, with a suite of evocative atmospherics using electronics, classical strings and location recordings to evoke the nocturnal workings of Daubigny. A Moon That Lights Itself is bathed in a liminal essence; a quality that defines all his work. From the Human Greed releases Black Hill: Midnight At The Blighted Star, Fortress Longing, World Fair to the Fragile Pitches collaboration with Colin Potter, Michael Begg has been behind a number of great releases. A Moon That Lights Itself now sits alongside those titles as one of his finest solo offerings in a release that is sombre, inventive and utterly captivating." [Compulsion Online]

€13.00

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BEHRENDSEN, PETER

10 x 15 = 30

Format: LP + CD Year: 2020

Peter Behrendsen (b. 1943) is a Cologne-based radio producer, performer and composer of experimental music. He started concerning himself with electro-acoustic music in 1972, was a member of Josef Anton Riedl's ensemble and assistant to Klaus Schöning at the WDR radio play studio (Studio for Acoustic Art). He organized numerous concerts and festivals for experimental music in Cologne, most notably BrückenMusik, a series of concerts in the box girder of the Deutz bridge. After Nachtflug / Atem des Windes in 2017, this is his second LP on Edition Telemark. "10 x 15 = 30" is the vinyl mix of a concert for Behrendsen's 75th birthday at the LOFT in Cologne. The full-length recording has been released on CD by Obst Music with the title "Fünf Mal Dreißig Ist Sechzig" ("5 x 30 = 60"). The players were: Peter Behrendsen (electronics), Dietmar Bonnen (prepared piano, glockenspiel), Andreas Oskar Hirsch (carbophone), hans w. koch (axoloti, blippoo box) and Lucia Mense (recorders). What Behrendsen had in mind for the concert was not a programme of solo pieces but a collective improvisation with musicians and visual artists. Being sceptical about conventional "free" (psychodynamic) improvisation, he decided to go with an approach that John Cage called "with the head in the sky – and the feet on the ground": between individual freedom and preconceived rules. The total length of the concert was set to 60 minutes, each player had 30 minutes in sections between 2 and 10 minutes. Their length and distribution was decided by chance. Within their sections players had individual freedom: Musical communication was not mandatory but possible, emerging musical relationships would often be unintentional. Simultaneously, 5 videos by visual artists were projected in random order, again without any intended correlation between sound and video. For the LP, the concert recording had to be adapted in length, i.e. reduced to 2 parts of about 15 minutes each. To maintain the character of a whole, the 60-minute concert was cut into 2 equal parts, mixed down and cut into 2 halves for both sides. The result is a new piece: denser but still transparent, the relationships between the musicians even more abstract – a new composition. Regular edition of 240 in glossy sleeve with artwork by Dietmar Bonnen. Special edition of 60 including the LP, the Obst Music CD with the full-length recording, both in their regular sleeves, and a numbered card signed by all musicians, all housed in a plastic outer sleeve. https://www.edition-telemark.de/923.02.html

€34.00

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BEHRENS, MARC

Architectural Commentaries

Format: CD Year: 2002

Architektonischer Noise? Aurale Geometrie? MARC BEHRENS versieht sein Cover mit Fotos von dreidimensionalen Gebilden & Gebäuden und scheint auch soundmäßig neuartige Räume ausloten zu wollen. Hermetischer Minimal-Ambient zwischen Geräusch, Drone und dem Nichts, veröffentlicht auf dem inzwischen von 20CITY in CMR unbenannten ESO STEEL – Label aus Neuseeland. Etwas für spitze Ohren. “ German composer and sound artist Marc Behrens has put forth a beautiful installment of sound work for CMR's second CD release, entitled Architectural Commentaries. Marc has been working with sound (in one form or another) since 1986 and is probably most recognised for his digitally re-worked field material and composition. With a long history of installation work and live performance, he has exhibited alone and in group exhibitions; and performed live internationally in locations such as Japan, Switzerland, Italy, Slovenia, Spain, and the UK. He has completed tours with fellow sound artists Francisco Lopez, Bernhard Gunter and John Duncan and has had notable CD releases on Gunter's label Trente Oiseaux (Germany), Digital Narcis (Japan), Raster Music (Germany) and Intransitive Recordings (USA). Architectural Commentaries is comprised of five tracks. The first three pieces, entitled 'Architectural Commentaries 1-3', are some of Marc's most recent compositions arranged in 2001 using basic material recorded from 1990-2000 in various global locations. Taking title, sleeve images and sound together we are left with new audible environments for architectural structures; jets of forced air and amplified nothing, distant machinery and tiny bites of frequency, faded and cut together to create beautifully atmospheric soundscapes. Track 4 was previously released on RLW's 'Tulpas' 5 CD set (Selektion 024) and was constructed using source material from Ralf Wehowsky. Track 5 was composed in 1992 as a soundtrack to accompany the video Der Raum by Torsten Grosch - stills of which feature on the CD sleeve. The album permits a smooth flow between Marc's earlier and more recent work and shows the artists' continuing exploration into the depth and dimensions of sound recording.” [press release]

€12.00

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BEHRENS, MARC + FRANCISCO LOPEZ

A szellem alma

Format: do-CD Year: 2004

" “a szellem álma” (”the dream of a ghost”) is a collaboration between sound artists Marc Behrens and Francisco López, which started three years ago with a joint recording session at Frankfurt airport. Sharing a common pool of mutated sound materials, they have created two parallel sonic worlds inhabited by obscurity, complexity, and resilience. Two long journeys across purely sonic geographies. Crisp, dense, delicate, and full of intricate spaces. Like the dreams of a ghost." [label info]

€20.00

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BEINS, BURKHARD / DIRK MARWEDEL / MICHAEL VORFELD

Misiiki

Format: CD Year: 2003

Michael Vorfeld Plays percussion and self designed stringed instruments and works as musician and visual artist based in Berlin, Germany. He works in the field of improvised, experimental music and sound art and is often involved in site-specific art projects. Besides his solo activities he is a member of various ensembles and collaborates with artists from different art forms. His visual work concentrates mainly on the use of light, and he realizes light installations and sound and light performances. His list of activities includes numerous concerts, performances and exhibitions in Europe, the USA and South East Asia. Dirk Marwedel Since 1985 improvised music, related musical concepts and interdisciplinary projects with dance, theatre, sculpture, painting, film, performance, soundinstallation; in several groups as well as a soloist developing technics of soundshaping and preparations which are extending the sonic spectrum of the saxophone far beyond the traditional sound of the instrument. Concerts in Europe and Canada. Lives in Wiesbaden, where he is a founding member and organiser of the HumaNoise congress. He is a group member of WIE?!, Salpinx, Ensemble 2INCQ, Xtrax, DOMINO Orchestra and a duo with Charlotte Hug. Burkhard Beins Plays percussion. Since the late 1980's international festivals, concerts and tours with experimental music throughout Europe und North America. He is a member of several ensembles like Perlonex, Activity Center, Polwechsel, The Sealed Knot, Phosphor and also works with Keith Rowe, Sven-Åke Johansson, John Bisset, Orm Finnendahl, Phil Minton, John Tilbury and many others. More than 25 CDs and LPs, released on labels like 2:13 Music, Zarek, Erstwhile, Hat Hut, Potlatch, Confront and Rossbin www.burkhardbeins.de/groups/misiiki.html

€6.00

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BEKAERT, JACQUES

Jacques Bekaert

Format: LP Year: 2022

Originally released in 1981 on the Belgian Igloo label this reissue comes with the same sleeve as originally designed by Alain Géronnez. \\\\\\\\\\\\\\\"A Late Lunch\\\\\\\\\\\\\\\" is the soundtrack to Akiko Iimura\\\\\\\\\\\\\\\'s eponymous movie realized in 1978. It is based on acoustic instruments and field recordings, brilliantly reconfigured and mixed by Bekaert to create a surreal, immersive soundscape. The technique used includes superposition and speed change of recordings, radical sound effects, and juxtaposition of sounds. The players were prominent musicians of the 1970s, including Maggi Payne, George Lewis, David Rosenboom, and Blue Gene Tyranny. \\\\\\\\\\\\\\\"A Summer Day at Stony Point\\\\\\\\\\\\\\\" was composed in 1969, with participation of David Behrman, Shigeko Kubota, and Charlotte Warren. The piece was commissioned by English composer Hugh Davies who presented it at the Harrogate festival the same year. Stony Point is a small village in New York State where John Cage co-owned a small pseudo-commune art resort where like-minded artists gathered. \\\\\\\\\\\\\\\"A Summer Day at Stony Point\\\\\\\\\\\\\\\" is nothing more than a page of a journal, a fragment of a notebook that utilizes a series of sound sources recorded at Stony Point on one beautiful day in the summer of 1968. Other electronic sound sources were recorded at the Brandeis University where Alvin Lucier was professor. The final realization of the piece was done at Henri Pousseur\\\\\\\\\\\\\\\'s APELAC Studio in Brussels, 1969. The soundtrack for Akiko Iimura\\\\\\\\\\\\\\\'s Mon Petit Album was composed on the basis of a simple description of the technique of the film and its time span. It includes David Behrman on alto, from an outdoor recording at Stony Point, plus excerpts from a Transition concert in London, the band Bekaert formed in 1971 with Michel Herr, Takehisa Kosugi, and Ryo Koike, both members of the Taj Mahal Travelers. The atmosphere is quiet and pastoral throughout with a very dreamlike flavor. Edition of 500. \\\\\\\\\\\\\\\"... Gentle threads of instrumental and electronic sounds are mixed with outdoor rural field recordings and occasional voices of his friends speaking, whistling or singing. Bekaert creates a warm environment within which we can hear subtle individual voices of good musicians who are relating to his loosely-notated scores and verbal instructions...\\\\\\\\\\\\\\\" --David Behrman https://metaphon2.bandcamp.com/album/jacques-bekaert \\\\\\\\\\\\\\\"In a truly great moment for reissues, Metaphon delivers one of the best of the year: the first ever vinyl reissue of Jacques Bekaert\\\\\\\\\\\\\\\'s monumental self-titled LP for Igloo from 1981. An unprecedented window into a singular creative mind, including contributions by Takehisa Kosugi, David Behrman, David Rosenboom, Maggi Payne, Georges Lewis, and numerous others, it\\\\\\\\\\\\\\\'s a masterstroke of electroacoustic composition that achieved nothing short of holy grail status for collectors over the years, which manages to entirely recalibrate the listener\\\\\\\\\\\\\\\'s mind. Working at a slow, meticulous pace, for a decade and half, Metaphon - the Brussels based imprint run by Timo Van Luijk - has continuously illuminated fascinating trajectories within a number of historically neglected contexts of electronic music and sound art. Primary focused on work produced in Belgium - with their own criteria of personal taste guiding them well - they’ve produced an incredibly important body of albums that endeavour to respect and supports the music and those who make it. In the midst of an incredible run - having recently released important works by Jan Bruyndonckx, Johannes Fritsch, Toshi Ichiyanagi, Michael Ranta, and Takehisa Kosugi’s - they’re back with the first ever vinyl reissue of Jacques Bekaert’s astounding self-titled LP, originally issued by the seminal Igloo imprint in 1981. A long-standing holy grail for countless experimental music fans, its two sides gather three astounding compositions, created in collaboration with some of the most important voices in 20th Century sound: Takehisa Kosugi, David Behrman, David Rosenboom, Maggi Payne, Georges Lewis, and numerous others. Absolutely incredible and not to be missed. A truly legendary album - issued in a very limited edition of 500 copies on vinyl - has finally returned to our hands. [By Bradford Bailey, 16 December 2022]

€24.00

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BELFI, ANDREA & MACHINEFABRIEK

Pulses & Places

Format: CD Year: 2009

"Manche Releases enthalten neben der auralen Qualität auch etwas hübsch haptisches, etwas aus der guten :zoviet-france:-Zeit: ein gediegenes Cover zum fühlen, riechen oder auch mal etwas verquer-komisches mit Kunst- bzw. Antikunstcharakter. BromBron ist das Sublabel von Frans De Waard’s Korm Plastics, eine Serie feiner klanglicher Kostbarkeiten in zwei Sorten Karton eingeschlagen, mit Papierfahne zum Herausziehen und dem Gefühl einer kleinen gezähmten Origamisensation. Machinefabriek und Belfi kommen hier über die bizarre Haptik des Releases hinaus, passend zum geprägten Cover in Form einer alten Landkarte gibt es schnarrige Mikrophonien einsamer Studioklänge, der Stuhl vorm Mischpult darf knarzen und sein kleckeriges Scherflein zum Klang dazugeben, während Belfi Messingschüsseln schrubbt und Zuydervelt alias Machinefabriek seine fein austarierten Klangbeigaben dazurührt. Die vier Titel überspannen sämtliche Zustände im Studio, von gelöster Mikroakribie bis hin zu glacialen Droneschichten, welche so luftig leicht erscheinen, dass es einen fast selbst aus dem Ohrensessel erhebt. Dabei gehen beide Künstler vorsichtig genug um, um dieses lockere Klangsoufflee nicht platzen zu lassen. »Pulses & Places«, Puls und Platz, all das ist ein wahrer Klangbogen voller Kuriositäten, dem Ach!-Gefühl wenn ein wohlvertrauter elektroakustischer Regen aus den Boxen quillt und einem das Gefühl gibt, einfach noch nicht alles gehört zu haben. So muss Musik klingen, die zum Erscheinen der abgedruckten Coverlandkarte noch nicht existiert hat." [Thorsten Soltau, AEMAG] "Korm Plastics is proud to present the ninth release in the Brombron series. Originally a co-production between Staalplaat and Extrapool, it is now hosted by co-curator Frans de Waard. In the year 2000 Frans de Waard and Extrapool started the Brombron project. Two or more musicians become artists in residence in Extrapool, an arts initiative in Nijmegen, The Netherlands, with a fully equipped sound recording studio. These artists can work in a certain amount of time on a collaborative project; a project they always wished to do, but didn't have the time or the equipment to realize. Andrea Belfi (born 1979) is an Italian electro-acoustic musician and composer. He began playing drums at the age of 14, and studied art in Milan, before becoming involved in experimental music in 2000. Belfi is also a member of electronic outfit Medves. In 2002 Belfi began a project titled Between Neck & Stomach, in which he attempted to turn a whole house into a musical instrument, by using sound vibrations to shake various items, such as pots, plates, and cupboards. This project resulted in a CD of the same name, released on the Häpna label in 2006. Rutger Zuydervelt, better known as Machinefabriek, lives in Rotterdam, The Netherlands. Started as Machinefabriek in 2004, he released 40+ small run home-made cdr's as well as work for Type Records, Lampse, Digitalis, Staalplaat (Mort Aux Vaches) and now 12K. A double remix cd was released in 2007, with interpetations by Alva Noto, Pita, Mitchell Akiyama, Xela, Gert-Jan Prins and many more. Collaborations (live or recording) include Steinbrüchel, Jasper TX, Wouter van Veldhoven, Simon Nabatov, Frans de Waard, Aaron Martin and Peter Broderick. A striking collaboration took place between Belfi on drums and assorted small percussion and Zuydervelt on guitar and organ. Together they produce the 'pulses' and 'places' mentioned in the title. Organic yet partially improvised, it resembles a kind of sonic geography. The listener is taken away for a journey of mild drones, soft yet outspoken percussion. A strong release. Design by Gerco Hiddink" [label info] www.kormplastics.nl

€13.00

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BELLERUE, BOB

Music of Liberation

Format: do-LP Year: 2018

Bob Bellerue's new double-LP, "Music of Liberation," is a careful and intricate album of textured drone and shapely noise. Like the greatest works by post-industrial masters David Jackman (Organum) and Steven Stapleton (Nurse With Wound), its power lies not in harshness, but in dynamic spectral intensity. These are minutely composed pieces with very great attention paid to timbral details and variances. Through the last few years, Bellerue has released a series of highly acclaimed long-form classics of tactile noise, including 2014's "Hollow Body" (Los Discos Enfantasmes), 2015's "Damned Piano" (Anarchymoon Recordings), and 2017's "Yamaha Deluxe" (iDEAL Recordings). These are in addition to more concise releases for labels like No Rent, Banned Production, Phage Tapes, and others, issued in a lava-like flow since the start of the millennium. And with "Music of Liberation," Bellerue's singular brand of volcanic aesthetics has reached a point of near-Hellenic refinement. The four pieces here are controlled eruptions, seeping slowly with the force of geologic synthesis. There is a subtle poignancy at work here too: "Music of Liberation" is dedicated to Bellerue's friend and collaborator, Z'EV, who passed away during the final stages of finishing the double album. The late experimental percussionist/sound artist shared a certain sensibility and approach with Bellerue, as both artists have a longstanding interest in the power of metallic resonance, poetic dissonance, and composition in-situ. "Music of Liberation" (née "Música de Libertação") was recorded in April 2016 at Sonoscopia (Porto, Portugal), in a raw session balancing drone feedback states with instrumental and vocal elements. The session was made possible through a variety of borrowed equipment and instruments (acoustic bass, shruti box, bowed gongs), which led to techniques and content which diverge from Bellerue's canon of work with surprising melodic moments. The unfamiliar instruments lent an inscrutable, organic quality to Bellerue's emotionally charged metallurgy. To bring out more full-spectrum sound, the recordings were played back in the old marble and plaster cavern of Issue Project Room in Brooklyn (where Bellerue works), to harness the resonant acoustics and add depth and dimension to the mono source recording. In Bellerue's realm, volatility frequently gives way to passages of sustained beauty, compelling all those journeying with him from instability to lucidity; from repression to liberation. “In the realm of noise and experimental music, Bob Bellerue elevates his recordings beyond the mere level of harshness into three-dimensional soundscapes that can be felt as well as heard.” - Chuck Foster, The Big Takeover Bob Bellerue is a noise composer, experimental musician, and creative technician based in Brooklyn NY. "Music of Liberation" has been released by Elevator Bath as a limited edition double LP, mastered for vinyl by James Plotkin https://elevatorbath.bandcamp.com/album/music-of-liberation

€25.00

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BERG, MOLLY / OLIVIA BLOCK / STEVE RODEN / STEPHEN VITIELLO

MOSS

Format: maxi-CD Year: 2011

"Edition of 500. Moss, is a live recording from a unique collaboration by sound artists/musicians Molly Berg, Olivia Block, Steve Roden and Stephen Vitiello. This was a midnight concert at the beautiful Trinity Cathedral in San Jose, CA which was part of the 01SJ Biennial. Olivia and Steve had performed solo sets on the previous nights. The final night was meant to be a duo with Molly and Stephen but the opportunity to play with musicians/friends who we admire so much called out for an invitation to play together. As the set was entirely improvised, the billing really changed in our minds from being a duo with guests to becoming a quartet. The church itself was certainly inspiring, it’s dark wood and clean dry acoustics. There was a very small but dedicated audience. No one slept and the church crew were able to, amazingly, quiet the rowdy revelers on the street for the duration of their set. Anyone familiar with any of the four musicians involved in this recording will know the level of craftsmanship and attention to sonic tactility that can be found within. They each exercise such incredible restraint, a feat difficult to pull off in an impromptu improvised session where musicians are often found competing for space, and allow for a sense of place to work its way through the quiet recording. “Moss” breathes like a living being lying down to sleep — a delicate wave of hushed field recordings, tape tracks and subtle electronics provides a bed for which Molly Berg’s clarinet and voice (joined at times by Steve Roden) ebb and sway, allowed center- stage, in movements across the piece’s 24+ minutes. Steve Roden and Stephen Vitiello provide guitar (lap steel and electric, respectively) while Olivia Block manipulates the tapes, field recordings and electronics. Moss is a perfect example of how four like-minded friends and musicians can come together at a moment’s notice and create, unrehearsed, a captivating and beautiful sonic landscape. The connection between them as artists is completely evident while at the same time disappearing into the background to allow the piece move like a singular body." [label info] www.12k.com

€10.50

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BERG, MOLLY + STEPHEN VITIELLO

The Gorilla Variations

Format: CD-R Year: 2011

"Split album between Sindre Bjerga and Nils Rostad recorded live at Moving Furniture Records HQ on 8-03-2011. The CD-R comes in handmade eco-pack sleeves with pictures of both artists glued on them. The names are handwritten on each side. There is also a hand-numbered pro-printed insert. Includes unlimited streaming of Live at Moving Furniture Records HQ via the free Bandcamp app, plus high-quality download in MP3, FLAC and more." [label info] www.movingfurniturerecords.com

€7.50

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BLACK SUN PRODUCTIONS

Chemism

Format: CD Year: 2007

"Black Sun Productions' new album consists of 14 tracks of tribal electronica and it stands as the most rhythmic output to date coming from Massimo & Pierce and their fellow Children of the Black Sun. The wooden sound of the marimba in combination with flutes and drums merging with very European sounding violins will reveal to the listener a new and pleasantly suprising attitude in musick-making of this collective of sound artists. The mutating precision of Pierce’s electronics is here counterpointed by Massimo's sonorous, deep vocals. Eschewing the melancholy of the double disc The Impossibility of Silence, BSP seems to have moved with CHEMISM into an electronic semi-operatic mode. Some of the album's tracks were written and performed in collaboration with draZen and Bahntier. CHEMISM features Val Denham and Ariot Fleischmann on additional vocals, Roman Hollenstein on drums and Roberto Budelo on violins. Dedicated to William S. Burroughs on the 10th anniversary since his death, CHEMISM is possibly the most original sonic statement of Black Sun Productions and it consacrates Massimo & Pierce as a truly eclectic duo of performers and producers. Coming into a 6panels digipack fully illustrated by Jacopo Camagni and Marco Felicioni of Studio Dronio." [press release]

€13.00

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BLACK TO COMM

Fractal Hair Geometry

Format: CD Year: 2008

"Black To Comm is the solo venture of Dekorder label boss Marc Richter. Having released two and a half albums on his own label he is slowly establishing himself as one of the more prolific drone artists out there with a forthcoming album on the American Digitalis label, a collaborative CD with Datashock on Ikuisuus, a 7" on the Irish Trensmat label and a collaboration with Xela in the works. "Fractal Hair Geometry" is Richter's most refined and original work to date, picking up where the electrifying drone works of his monumental Double-LP left off. Like the last records this album is centered around recordings of a variety of vintage organs. While "Wir können leider..." often featured pure harmonium sounds and spacious recordings of chuch organ and mellotron, the new album opts for a more electronic, effects-laden sound, sending an old Farfisa Compact Deluxe and Casio SK-5 through an armada of analogue & digital effects pedals. The results are massive one-chord drones layered into dense & ecstatic, flickering & pulsating clusters of psychedelic electronic sound. Additional wordless vocal effects, hyperventilating & sizzling drum machines and hypnotic violin and guitar noises make for a hyperactive sound that never stands still even though most of the music is pure drones (sometimes consisting of more than 50 recording layers). Decidedly simple but gorgeous melodies shine through the mist from time to time, making a Black To Comm record always much more accessible than your average drone album. There's even a heavy 4/4 bass drum smuggled into a track dedicated to the late Leigh Bowery, one of the most enigmatic creative figures of the mid-80's UK club scene (and singer of Minty). Guests include Jonna Karanka (aka Kuupuu) on piano, Guido Möbius on trumpet and current Black To Comm (live) band members Renate Nikolaus on violin and Ulf Schütte (of Datashock, Aosuke, etc.) adding electronic sounds. Along the lines of the music, seminal German artist Oliver Ross has created a massive multi-layered neon-coloured collage artwork which is printed on special ultra-heavy cardboard stock." [label info] "..Chanted vocals, whirring organs, mysterious shimmers, squiggly melodies, buzzing Theremins, electronic glitches, analog synths, wheezing harmoniums, and those are just guesses, cuz just like that museum exhibit, it's difficult to tell what the source sounds are. We also didn't try that hard. It's like trying to peek under the table to see how a magician does a trick. We don't want to know. It's more fun to get lost in these mysterious sounds. One track even introduces a muted techno throb, and for a brief second it sounds like the weirdest record Kompakt never released. It's really hard to describe this stuff, which is probably why we like it so much, check out the sound samples, and hear for yourself!" [Aquarius Records review] www.dekorder.com

€13.00

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BLACK TO COMM

Seven Horses for Seven Kings

Format: do-LP Year: 2019

2xLP packaged in a gatefold jacket with black inner sleeves. A limited quantity is pressed on one of a kind green mashup vinyl. Check out the unboxing here! CD version in 4-panel mini-LP style gatefold jacket. Black To Comm is the solo project of German sound artist Marc Richter. Through his output both as an artist and through his eclectic Dekorder label, Richter has established himself as a singular voice of new music. Operating at the fringes of drone and ambient genres, his music is darkly magical and deeply atmospheric, underpinned by a signature surrealism. A relentless sonic explorer, Richter approaches the studio as his instrument, using sampling, analogue production and digital manipulation to offer an almost infinite choice of tones and textures. Audio fragments are liberated from their original context and sculpted into surprising new shapes, creating work that transcends time or genre. Seven Horses For Seven Kings sees Richter reaching out again into the limitless field of sound, summoning forth his darkest and most visceral work to date. Seven Horses For Seven Kings was completed during a particularly prolific period for Richter. Working on a broad range of commissions since his last album - from writing for film and theatre works to composing for art installations, apps and sleep music - generated a flurry of new ideas and influences. Site-specific residencies in particular let Richter shift his focus from melody and song architecture to more abstract sound art. Extensive touring would equally come to inform a key shift in Richter’s music, simulating the raw, unpredictable energy of live performances on record. Rather than ironing out mistakes in samples or his own playing, he exploits or even forces such imperfections. While rhythm has been largely absent from previous Black To Comm releases, here the music seems totally bound to it, from the fractured techno breaks of ”Fly on You”, to the pounding war drums of “Rameses II” and pulsing Mellotron sounds of “Angel Investor”. The album’s breath-taking pace drives Richter’s music to new levels of intensity. Richter’s creative practice is informed as much by careful, attentive listening as it is studio experimentation. Pieces often begin life as a single sound that catches his ear, be it a record from his extensive collection, or something in the natural environment. Samples and instrumentation are sometimes presented authentically, a deliberate reference to an era, place or player, and at other times are twisted beyond recognition. Samples from contemporary artists like Nils Frahm are bent and compounded with fragments of early recorded music and medieval song. Richter blurs the lines between organic instrumentation and digital production to the extent that the two become inseparable. Being able to separate sound from context gives Richter complete command of the emotional impact of his music, imbuing pieces with meaning or stripping it back as he sees fit. While Richter questions whether instrumental music needs to have deeper meaning beyond its sonic qualities, he accepts that the wider world inevitably bleeds into his art. Reflecting the violence and unreality of modern life, Seven Horses For Seven Kings is unashamedly dark, undeniably angry. But rather than be consumed by such emotions, Richter employs them as ecstatic release. Through his mastery of sound, he achieves transcendence through noise, beauty through intensity. www.thrilljockey.com/products/seven-horses-for-seven-kings

€23.50

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BLACKSHAW, JAMES & LUBOMYR MELNYK

The Watchers

Format: LP Year: 2013

"The Watchers is a historic collaboration between Lubomyr Melnyk and James Blackshaw. Both artists are well known as composers but here it is their impovisational skills that are on display. First 200 copies of the LP will ship on blue vinyl. CD version is packaged in a heavy duty digipak. I first met Lubomyr Melnyk at a festival called Hea Uus Heli in October 2008. We were both scheduled to play that day and I was very excited to see him perform. Before the show I bought several LPs from him and mentioned as much. Lubomyr (more than modest and courteous, as he always is) asked me what I was doing at the festival and I replied that I was also performing at the festival a little later, to which he responded "I'll come and watch you", before being ushered into the hall to play one of the most staggeringly sonorous and beautiful sets I've ever heard. It was overwhelming, full of pathos and I left the hall with those incredible overtones hanging in my ears for hours. A couple of hours later, I was onstage when I glanced up and saw Lubomyr, true to his word, stood in the audience watching me attentively. I felt incredibly nervous. It's not everyday you get to play for someone who has greatly inspired and influenced your own music. After the show, I packed up my guitar and came out to meet the crowd. The first person who greeted me was Lubomyr: friendly. full of enthusiasm and keen to hear about my music, my processes, the way in which I made music. Yet again, I was overwhelmed - for very different reasons. "You have invented continuous music for guitar!" I don't know if that's true or not, but I can't think of an epitaph that would make me prouder. We also spoke about collaborating that night and via e-mail a while after, but it wasn't until January 2012, shortly after I'd moved back to Hastings, England from Ann Arbor, Michigan and Lubomyr played his first ever show in the UK at Cafe Oto that it came to fruition. John Chantler got in touch, said Lubomyr had a free day after his performance and could I come to London for a day, see what happens? He kindly agreed to record the whole thing. We all met at the Vortex Jazz Cafe around midday. We set up, Lubomyr at the grand piano, me directly facing him with my 12-string guitar and began. I would retune at random between songs and together we would find interesting chord progressions, hints of melodies and ways in which to weave those immense overtones that Lubomyr is able to generate on the piano with those of my guitar. No more than two takes per song. Improvisation, spontaneous composition, whatever you want to call it. Either way, it truly felt as if the piano and guitar were as one - inseparable, parts of a bigger whole, a means by which for two people to make one sound. It never felt forced and never less than engaging. Lubomyr was always humble, jovial and open to ideas. The whole session lasted six hours. I'm not a great improviser. I always want to take that raw creative element that the form brings and work upon it, to distill and refine it further. I think Lubomyr feels the same. But there is something about these recordings that would be incredibly difficult to recapture. A small moment in time, feeling perfectly and wonderfully lost within that sound. I'm honoured. James Blackshaw, October 2012." [label info] www.importantrecords.com

€20.00

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BLOCK, OLIVIA

Mobius Fuse

Format: CD Year: 2001

“Sedimental’s release of the second cd from Chicago based electro-acoustic composer Olivia Block titled Mobius Fuse. This much anticipated follow up to her critically acclaimed debut Pure Gaze(sed cd028) continues her rich and unique exploration of both acoustic and electronic sounds reaching a depth and level of emotional intensity rarely heard in the field. Olivia Block is a contemporary composer who combines field recordings, scored segments for acoustic instruments, and electronically generated sound. Her recorded work seeks to introduce, set at play, and ultimately reconcile nature with artifice in the realms of music and sound. In the process, "organic" sound becomes subtly processed, digitized and abstracted; "inorganic" sound becomes self-replicating and animate; and "musical" elements such as chamber instruments are de familiarized from their traditional associations, freeing them to participate in the larger aesthetic possibilities of sound. Her pieces are composed over long periods of time in numerous stages. She often prepares elaborate tape installations in natural sites for field recording sessions which she later integrates into her recorded compositions. In live performance, Block introduces additional elements of paradox and tension: chamber musicians perform scores which accompany pre-prepared tape material, and improvisers (often including herself) interact with "lo-fi" speaker installations and digital recordings. Since its release, her debut solo CD, Pure Gaze (Sedimental, 1998) has been consistently included on radio play lists throughout America and Europe. It was included in Blow-Up magazine's "Top Releases" of 1999 and The Wire magazine's top ten section, "Charts"; and Julian Cowley, in the latter publication, described her as "a composer who demands serious attention." Another of her works, Piece for Scrubbing Tile, was featured in the Modern Museum of Lyon, France in 1998, as part of the Collage Jukebox installation and festival (curator: Jerome Joy). Her recorded works have been used as source material recently by Achim Wollscheid, in his Shifts release (Ritornell/Evolution). Her soundtrack work for Natalia Castro's short video piece, Fire-Fly, helped earn the project the undergraduate video award at the School for the Art Institute of Chicago in 1997. She has recorded with such artists as Jim O'Rourke and Jeb Bishop, and has performed with artists including Pauline Oliveros and Fred Lonberg-Holm. Her radio appearances include WKCR's Live Constructions (Columbia University), WLUW's Something Else (Loyola University), and others. She was a visiting lecturer at DePaul University. She has toured extensively in Japan and has Europe. Olivia Block is self-taught. She started her musical career in Austin, Texas, in the experimental rock scene in which she played electric guitar and trumpet, sang, and created abstract tapes for play during live performances in several bands. Such tape work led her to her next trio, Alial Straa, an electro-acoustic and improvisational group including Seth Nehil ("Tracing the Skins of Clouds," Kaon records), and John Grznich ("Stomach of the sky," Staalplaat; "Absurd Evidence," Bobby J.) Alial Straa's CD, "Tunnels/Stairwell" is currently out on Alluvial records. At present, Olivia Block lives in Chicago. Her next collaborative release, Oil and Water, an electronic composition with Petra Klusmeyer, will be released on Boxmedia records." [label info] www.sedimental.com

€13.50

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BOHMAN, ADAM

Burnhill Row

Format: LP Year: 2006

Incredible weird recordings from 1980 from this one half of todays still very active duo BOHMAN BROTHERS ! "1980 was an incredibe year for London's experimental music scene with many different strands. Recommended Records were rereleasing the first two Faust LP's, L. Voag had found 'the way out', Swell Maps were 'in occupied Europe'. Throbbing Gristle and other industrialists were giving plenty of live actions. Nurse With Wound had just released their first LP, as had This Heat. The other great LP on Piano Records by Steve Beresford was also on the shelves. Meanwhile, elsewhere in the capitol Adam Bohman was making his first recordings working with two budget cassette recorders. Bunhill Row was the first complete album of material, but whilst the aforementioned artists were pressing up their recordings and making them easily available via Rough Trade or the Recommended Records shop, Adam's releases remained in tiny cassette editions made for friends or exchanged on the mail art network. So here for the first time is Bunhill Row, released as it should have appeared at the time - on vinyl. It must be said that this is quite unlike any of Adam's other releases, and quite unlike his work with Morphogenesis, or his work as one half of The Bohman Brothers. This is 'songs' - 30 in all, and the main instrument used is a trumpet (an ordinary trumpet), along with a variety of other acoustic instruments and objects, many of which are still part of the Bohman armoury as known. The overall feel sits somewhere between R. Steevie Moore and Caroliner Rainbow, but this is British of course. Somehow it all works, and all in all opens another window on to the incredibly fruitful astral alignment that occured over London at this time. Adam also has a solo CD on Paradigm Discs, and also appears on 'Variations - a London compilation' the first CD released on Paradigm Discs." [label info] www.stalk.net/paradigm

€17.50

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BOLANOS, CESAR

Peruvian Electroacoustic and Experimental Music (1964-1970)

Format: do-CD Year: 2010

"César Bolaños is one of the leading artists of the Latin American avant-garde of the mid 20th century. Born in Lima, Peru in 1931, he was part of an astonishing generation of Peruvian composers: Edgar Valcárcel, Olga Pozzi-Escot, Alejandro Núñez Allauca, Leopoldo La Rosa, Enrique Pinilla and Celso Garrido-Lecca, among others. After studying piano at the National Conservatory in Lima, and following classes with the Belgian composer Andrés Sas (who after leaving Europe settles in Peru), he would join the group 'Renovación' (together with Valcárcel, Pozzi-Escot, Pulgar Vidal and Sas); with them Bolaños began a series of presentations and edited a music magazine. He had already composed brief pieces for piano and music for a chamber orchestra. At that time Bolaños is interested in the work of Stravinsky, Bartók and Schoenberg. But he's still far from the sound radicalism that he would reach in the future. In 1957 he traveled to New York City to study composition at the Manhattan School of Music and electronics at RCA. He met the Argentine composer Alberto Ginastera, who offered him a scholarship to study at the Latin-American Center of High Musical Studies (CLAEM) in Buenos Aires, Argentina. On his arrival in 1963, Bolaños became involved in the design and development of the electronic music laboratory of the CLAEM. There he composed his first electronic piece and the first work generated in the above laboratory: 'Intensity and Height' (1964), inspired by a poem of César Vallejo. Bolaños also composed 'Interpolations' (1966) for electric guitar and magnetic tape, 'Spaces I' (1966), 'II' (1967), 'III' (1968) for magnetic tape, the experimental audio-visual cantata 'Alpha-Omega' (1967), instrumental and mixed pieces like 'Flexum' (1969), 'I-10-AIFG/Rbt-1' (1968), and, with a commission from Radio Bremen (Germany), 'Nacahuasu' (1970), inspired by the Che Guevara diaries. Bolaños also experimented with computers, and composed two pieces with the mathematician Mauricio Milchberg. 'Sialoecibi' (1970): ESEPCO I (computer sound-expressive structure)* for piano and a recitator-mime-actor (a work that satirizes the organization language initials from the 1950's) and 'Song without words', ESEPCO II (1970) 'Homage to the unpronounced words' for piano (2 performers) and tape. For the composition of these pieces Bolaños and Milchberg introduce into the computer parameters to have the machine generate a composition from the information obtained by the composer's production. These recordings bring together for the first time a definitive edition of his work on CD." [label info] www.pogus.com "Electronic music from Peru? Pogus boss Al Margolis goes with his search for some of the exotic, unknown composers from the most obscure parts of the world. Carlos Bolanos was born in Lima, Peru in 1931, who also composed for piano and chamber orchestra. In 1963, while in Buenos Aires he was introduced to electronic music, which he continued to compose until 1970. After 1973 he was back in Peru, but without any further means to continue this line of work and devoted the rest of his time investigating pre-Hispanic instruments. Now for the first time his electronics appear on compact disc. Only the first piece, 'Intensidad Y Altura' is pure electronical piece; all the others combine electronics with other, 'real' instruments. About one hundred minutes here of what is best called 'difficult' music - the germanic ernste music. I must have written this before, but I am not the most right person to do this music any justice. This is a highly serious mixture of avant-garde classical music in combination with electronic sounds. My favorite is 'Cancion Sin Palabras, ESEPCO II' for two piano's and tape, which is intense at times, soft at times and has a great touch to it, including some scarping and bending sounds. The other pieces were not bad either, but not all the time worked for these classically untrained ears. Definitely an interesting release, but perhaps I wished for some more electronics." [FdW, Vital Weekly]

€18.00

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BORISOV, ALEXEI

A Polished Surface of a Table

Format: CD Year: 2004

Eine der experimentelleren neuen Veröffentlichungen auf dem Moskauer Label von A. ARTEMIEV kommt von ALEXEI BORISOW. Zu hören gibt es von ihm sehr komplexe Collagen und unendlich scheinende Überlagerungen aus „everyday sounds“ und atonal-dronigen elektronischen Klängen, Geräuschkaskaden, mutiert-technoides und vieles mehr.... “ A full-length album by Alexei Borisov is a nice thing to hear, if you need a redefinition of the experimental music. Alexei is certainly one of the Russian artists that's gaining a bigger worldwide recognition lately, he played live at this year's Club Transmediale in Berlin few weeks ago. Before this album and besides the tracks from various compilations (released by N&B Research Digest), I've heard Alexei's live album Before The Evroremont released by N&B Research Digest / Avanto Festival, and I liked it. I wonder what it means when a track by Alexei Borisov is titled Blue Vinyl? Does it mean he took a blue vinyl and conducted a musical massacre on it? Could be. Alexei likes to use voices in his post-electronic, post-techno, post-experimental, post-post music, one of the best post-musics I've heard. This is done truly amazing in the sixth track Dew, a complete musical slaughter, 4 minutes of the most amusing (and most gentle) sound-killing I've heard recently as a counter-point of the first 15 seconds at the beginning of the track with the appealing vocal of Angela Manukjan. Kill sound before sound kills you? Kid606, take notes. The techno moment is in Zaraza (Volume I), a track that could have been done maybe by Motor, and noone else. Could be because of the national connection. The softly distorted beats make me want to hear Volume II, if there is. The voices are sometimes used to create only noises with them, like in My Voices. Alexei Borisov's music is maybe not the kind of music you'll listen all day every day, but it's sure great to know it exists out there, somewhere, in the outer limit. Great work! Address: http://www.electroshock.ru [BR, Vital Weekly]

€12.00

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BOURBONESE QUALK

Hope

Format: CD Year: 2020

Bourbonese Qualk were an experimental music group from England who where active from 1979 until 2003. The group were always obsessively and uncompromisingly focused on controlling their work – they ran their own record label, recording studio, tour organisation and music venue (the legendary ‘Ambulance Station’) – they refused to integrate into the commercial music racket turning down publishing deals from major labels – stubbornly opting for total independence. Bourbonese Qualk were also known for their political activism which was formed in the crucible of the 1980s Britain: The Miner’s Strike, Falklands/Malvinas war, Anti-fascism, Thatcherism, Moneterism, squatting/housing, local government corruption, anti-capitalism, and Anarchism – which was further re-enforced by touring Europe and meeting like-minded groups and organisations. They saw their music as a revolutionary cultural force – a belief that radical musical forms must be part of positive social change. Despite this position, the group avoided dogma, cliché and propaganda, preferring to let their audience come to their own conclusions – their work was often ambiguous and directly critical of cynical power-politics of any colour – often irritating members of the traditional ‘organised left’. In 1984 Bourbonese Qualk occupied a large empty building on the Old Kent Road in South London which they turned into a base for their activities and a co-operative for artists, musicians and writers as well as a centre for radical political activism – specifically as a co-ordinating centre for the ‘Stop The City’ anti-capitalist riots of 1984-1986. They never recorded in a ‘proper’ studio (not that they could ever afford to), choosing instead to work with their own extremely basic equipment (at a time when home studios were very unusual – the unique raw sound of these recordings is the result of their choice – which now, ironically, is in vodue due perhaps to the overwhelming obliquity of ‘clean’ audio digital production tools. If Bourbonese Qualk have a legacy, it is that ‘culture’ should be reclaimed, re-defined and owned by the people, wherever they are, however small and not by the state or the market and that ‘culture’ is a vital vehicle for debate and radical change.Hope was the group'ssecond long player, released on their own Recloose Organisation label in 1984. It features Simon Crab, Julian Gilbert and Steven Tanza. It's a masterpiece of early DIY Electronic/Industrial music and is available on CD for the first time now. Full tracklist: 1. Erector 2. Sunset Sex 3. Invocation 4. Cold Blood 5. Headstop 6. Mission England 7. Dereliction 8. Black Madonna 9. Gag 10. Something In The Air 11. There Is No Night 12. Exposure 13. Waves 14. Lost Time. Price: € 17,-/copy incl. worldwide shipping. www.klanggalerie.com/gg317

€15.00

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BOURBONESE QUALK

My Government is my Soul

Format: CD Year: 2026

Bourbonese Qualk were an experimental music group from England who where active from 1979 until 2003. The group were always obsessively and uncompromisingly focused on controlling their work – they ran their own record label, recording studio, tour organisation and music venue (the legendary ‘Ambulance Station’) – they refused to integrate into the commercial music racket turning down publishing deals from major labels – stubbornly opting for total independence. Bourbonese Qualk were also known for their political activism which was formed in the crucible of the 1980s Britain: The Miner’s Strike, Falklands/Malvinas war, Anti-fascism, Thatcherism, Moneterism, squatting/housing, local government corruption, anti-capitalism, and Anarchism – which was further re-enforced by touring Europe and meeting like-minded groups and organisations. They saw their music as a revolutionary cultural force – a belief that radical musical forms must be part of positive social change. Despite this position, the group avoided dogma, cliché and propaganda, preferring to let their audience come to their own conclusions – their work was often ambiguous and directly critical of cynical power-politics of any colour – often irritating members of the traditional ‘organised left’. In 1984 Bourbonese Qualk occupied a large empty building on the Old Kent Road in South London which they turned into a base for their activities and a co-operative for artists, musicians and writers as well as a centre for radical political activism – specifically as a co-ordinating centre for the ‘Stop The City’ anti-capitalist riots of 1984-1986. They never recorded in a ‘proper’ studio (not that they could ever afford to), choosing instead to work with their own extremely basic equipment (at a time when home studios were very unusual – the unique raw sound of these recordings is the result of their choice – which now, ironically, is in vodue due perhaps to the overwhelming obliquity of ‘clean’ audio digital production tools. If Bourbonese Qualk have a legacy, it is that ‘culture’ should be reclaimed, re-defined and owned by the people, wherever they are, however small and not by the state or the market and that ‘culture’ is a vital vehicle for debate and radical change. My Government Is My Soul was the band's sixth album, originally released by Fünfundvierzig in Germany in 1989. Drums, Percussion – Owen Rossiter Guitar, Saxophone – Miles Miles Voice, Electronics – Simon Crab Written By, Recorded By, Producer – Bourbonese Qualk Remastered By – Martin Bowes https://klanggalerie.bandcamp.com/album/my-government-is-my-soul

€15.00

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BOW GAMELAN ENSEMBLE

Great Noises that fill the Air

Format: CD Year: 2018

Since 1983, Bow Gamelan Ensemble have inspired generations of artists with their radical practices and explosive performances. Charged with their individual virtuosity in performance art, avant-garde music and kinetic sculpture, their sound installations and performances are immersed in an orchestra of instruments made from scrap metal, electric motors, river barges and domestic objects including glass sheets, light bulbs and fireworks. A dissonance between 'noise' and 'meaningful utterance’ that will astonish the ears and ravish the imagination with unearthly magic. Guests: Z'EV, Nicola Kate Heys, Thames Steam Launch Co., Eel Pie Marine. 30th anniversary reissue of the sought-after LP from 1988, on CD for the first time. Mastered by Denis Blackham (Skye Mastering). Digipak. 'Great Noises That Fill The Air', the first retrospective of Bow Gamelan Ensemble, runs 27th October - 15th December 2018 at Cooper Gallery Dundee, with two special performances on 26th October and 24th November: www.dundee.ac.uk/cooper-gallery/exhibitions/bowgamelanensemblegreatnoisesthatfilltheair/ ................................................................................... Embodying an urgently creative and discursive space resonating with improvisation, camaraderie, provocation and antagonism, the East London performers are driven by the uniquely subversive and collective sensibilities of Anne Bean, the late Paul Burwell and renowned sculptor Richard Wilson. The ‘instruments’ used in their performances are specially constructed, mostly from scrap metal, electric motors and glass, and produce a wide variety of sounds; from the deep, organ like sounds of the Pyrophones and the tumultuous din of The Thundersheet, through a gamut of percussive timbres and dynamic ranges. Weirdest band in the world: weirdestbandintheworld.com/2018/10/15/weird-band-of-the-week-bow-gamelan-ensemble/

€12.00

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BRAND, STEVE

Looking into the other

Format: CD-R Year: 2007

STEVE BRAND (also known before as AUGUR) mixes electronics, field recordings and sounds from "real" instruments for a very mellow deep ambient journey, similar to ALIO DIE or ROBERT RICH... but he also has parts of very "pure" concrete sounds, that are more challenging... Great full-colour artwork / cover, showing nature, symbols, stones. "Steve Brand has been creating sound art and visual art since the mid-80's. From 1995 to 2003 he was active as Augur, creating obscure and organic music which was released on many labels worldwide, including The Foundry, Manifold, Alluvial, Self-Abuse and others. During the years he had the chance to collaborate with artists such as Jeph Jerman (Hands To, Animist Orchestra), Rick Kitch (I Am Umbrella, Lucky Cricket), PBK, James P. Keeler (Wilt), Brooke Oates (Birds of Tin), etc. His atmospheres, alarmingly austere, with varying shades of gray, are drenched in allusion and a heightened sense of cinematic noir for the listener. According to his own words, "emotional aspects of a recording always come first". Consisting of six long tracks, "Looking Into the Other" takes up where "Awakensong" (...released on Afe in April 2006...) left off, expanding the exploration of twilight worlds. The album utilizes bells, synthesizers, voice, various flutes, medicine drums, cymbals, fiddle, rattles, prayer bowls, etc. "Looking Into the Other" begins with the ritual horns introduction of "The Flower of Life", a piece full of pathos which is subsequently filled with morbid sythesizers lines and insects sounds provided by Johnathan Benham. "Where Two Rivers Meet" starts as a percussive number and then proceeds with keyboards and flute intertwining each other before percussions re-emerge towards the end of the track. Clocking at more than thirteen minutes, "Djehuti, the Architect" is one of the longest and most complex tracks on the album. Its structure keeps on changing as different percussions, cymbal, voices and synthesizers flow in and out of the mix. Listening to this track is quite an experience. "Columns of Light" it's a quieter and dreamy piece constructed on floating keyboards sequences and background rattles, bells, chimes and other small objects / hand-held percussions. "Looking Into the Other", the title-track, was already featured on our 10th year celebrative on-line compilation in late 2005, the one on this album is an improved version. With its flutes, voices, phased drones and repetitive drumming, this track has a strong introspective quality. The fourteen minutes long "Wrapped in Leaves" closes the album with a mocking laugh. A shorter version of this track previously appeared on the "Things Asunder" compilation released by The Foundry. Once again, with this work Steve Brand has created an high quality and excellent album of deeply emotional music, and proved himself as one of the most inspired authors in contemporary Ritual Ambient. "I am reaching into the interior realities, the meaning behind the symbols we accept as everyday reality, into the dream of the abundant natural self that knows no boundaries or limitations." [label description] www.aferecords.com

€10.00

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BRANT, JACOB

Rainmaking

Format: mCD-R Year: 2013

"ACM 1019: 3“ CD-R in mini DVD-style case Drone ambient at its lushest, most densely harmonic, is how best to describe the music of British artist Jacob Brant. Using sampled acoustic instruments and especially voices to create sonics vaguely akin to Ligeti’s ‘Lux aeterna’, this two-part composition shows his capability of colouring his dronescapes both in serene and ominous colours. “This piece of music is dedicated to those who protect us,” the sleeve notes say, and while the first part of the piece, ‘Rainmaker,’ seems to refer this to a sort of religious context, the title of the second part, ‘Whistleblower,’ proves that for all the blissful otherworldliness of his music, Brant is not blind to the ugliness of our world that needs whistleblowers in evil organisations to protect the rest of us from the worst. Jacob Brant certainly shares a lot of compositional methodology (use of acoustic sound sources etc.) with drone composers like Niblock and If, Bwana, but the structure of pieces like “Rainmaking” is more akin to artists like Mirko Uhlig and Tim Hecker and their more song-like, melody-oriented approaches." [label info] www.attenuationcircuit.de

€6.00

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BRUME

Reality is not enough

Format: CD-R Year: 2023

BRUME / C. Renou: Electronics, Metal, Tape, guitar, electronic toys, field recording, voice, effect, etc... Comp / Rec / Mix at BRUME Rec studio, Oct. 2022 https://instituteforalienresearchvariousartists.bandcamp.com/album/reality-is-not-enough

€10.00

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BRUME / OUBLIER ET MOURIR

A Year to live

Format: LP Year: 2012

" ‘A Year To Live’ is the 2nd collaboration between the German dark ambient/noise sound artist ANEMONE TUBE (OUBLIER ET MOURIR) and the French sound experimentalist CHRISTIAN RENOU (BRUME). ‘A Year To Live’ ties in with the highly acclaimed ‘Transference’ collaboration CD (released by Auf Abwegen, 2003), which radiated a subtle (dis)quieting melancholy, but goes beyond it. ‘A Year To Live’ refers to the same-titled book by Stephen Levine, which deals about preparing for or ‘practicing’ death to remind oneself of the beauty of life. On his deathbed, Socrates exhorted his followers to practice dying as the highest form of wisdom. Levine teaches us to live each moment mindfully and created the so-called ‘year to live’, a program of intensely practical strategies and powerful guided meditations, which helps us to live our lives with more awareness before we die. Both artists approach this theme with notably different points of view, but complement one another’s vision, in such a precise and dedicated manner, that one can truly not exist without the other. BRUME is the experimental music project by CHRISTIAN RENOU, a particularly prolific sound artist, active since 1985. With recordings on Elsie And Jack, Drone, Old Europa Café, Relapse, Staalplaat and his own Brume Rec., Christian Renou has built quite a name for himself over the years and can be considered a legend in the field. On ‘A Year To Live’ BRUME creates environments ranging from the completely abstract to the vaguely specific, using elements such as voice, loops, wide-ranging drones, ghostly ambiences, noise, various electronics and even percussions. The loops and voice samples roam throughout the track list like persistent ghosts wandering in a transcendental, shapeless purgatory, reciting their obsessions like a mantra. www.elsieandjack.com/brume ANEMONE TUBE has aroused much attention with his two consecutive releases ‘Dream Landscape’ (2010) and ‘Death over China’ (2011), which embody hell’s darkest nightmares to give a good, hard glimpse of Death’s reign over matter and human existence. Now a new form of expression is born and in a sense it is the cathartic aftermath of the unbearable pain caused by the previous realisations. Such an expression required a different vehicle, which is OUBLIER ET MOURIR (‘to forget and to die’). A name perfectly suited to the peaceful, meditative, but also deeply emotional and atmospheric character of the music, which is a unique mix of melancholic ambient soundscapes & melodramatic pop sometimes reminding of TOR LUNDVALL and (early) SYLVAIN CHAUVEAU. www.anemonetube.de " [label info] www.silkentofu.bigcartel.com

€17.50

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BURKE, DAN & KEVIN DRUMM

Mort aux Vaches

Format: CD Year: 2003

"In 2001 Dan Burke (aka Illusion Of Safety's frontman) and Kevin Drumm embarked on a small European Tour, bringing them also to the VPRO studios. This was the third time that Dan Burke made recordings there, the first two being previously released in the Mort Aux Vaches (and both are still available). Rather then playing under the Illusion Of Safety moniker, this was a tour of two like minded improv artists. Dan Burke has been doing Illusion Of Safety since the mid 80s, releasing many CD's and the band has seen many members besides Burke, including Jim O'Rourke, Mark Klein and Kurt Greisch. They balance on the fringe of silence and noise, always seeking out the beauty. A discography by Kevin Drumm reads like a who's who in the world of improvised music. He has released CD's with Ralf Wehowsky, Taku Sugimoto (various releases, such as for Boxmedia, Sonoris and Meme), Martin Tetreault, Axel Dorner and Lasse Marhaug (plus lots that we forget of course) as well as various solo works for Perdition Plastics, Mego and Fringes. This CD is a fine improvisation between the closely contact microphone objects, guitar and laptop of Dan Burke and Drumm's guitar and ancient analogue synthesizer. A very dynamic work, which ranges from sheer silence to sheer noise, always with a sharp edge." [label info]

€14.50

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BURROUGHS, WILLIAM S. & BRION GYSIN

same

Format: LP Year: 2021

Rare recordings of beat/cut-up writers and artists William S. Burroughs and Brion Gysin. Comprises the complete recording of Burroughs reading live in Liverpool in 1982, plus performances by Gysin of a selection of his permutated poems, as well as home recordings made by the pair in Paris in 1970. All recordings are taken from original tapes in the British Library collection. Ltd Edition 180g vinyl. Officially licensed from the British Library, The Estate of William S Burroughs, and The Estate of Brion Gysin. credits released May 10, 2021 SIDE A: 1. The Beginning is also the End (excerpt) Speaker: William S. Burroughs Recording date: Unknown, probably c.1963 2-6. Reading at the Centre Hotel, Liverpool Speaker: William S. Burroughs Date of recording: 5.10.1982 SIDE B: 7-10. Reading at the Centre Hotel,Liverpool cont. 11. Cut-Ups Self-Explained Speaker: Brion Gysin Date of recording: c.1960-1962 12. I Am this Painter Brion Gysin Speaker: Brion Gysin Date of recording: c.1960-1962 13-18: Pistol Poem I’ve Come to Free the Words No Poets Don’t Own Words Calling All Reactive Agents Junk is No Good Baby Kick That Habit Man Speaker: Brion Gysin Date of recording(s): 1960-1962 19. I Am That I Am Speaker: Brion Gysin Date of recording: 1962 20-22. Invisible Art (three versions) Speaker: William S. Burroughs Date of recording: 22.03.1970 23. 'Silky supple mirrors to be folded...’ Speaker: Brion Gysin Date of recording: 22.03.1970 https://coldspring.bandcamp.com/album/william-s-burroughs-brion-gysin-csr293lp

€28.00

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BUT I'M NOT (PAWEL GRABOWSKI)

DAEMON TRANCES I-VI

Format: CD Year: 2021

This album is about trauma and PTSD. The music portrays the emotional loop... the continuous reminiscing about the traumatic event the never-ending anxiety and paralyzing panic attacks... ... from which a traumatized person simply cannot escape. I call this state the daemon trance (and, unfortunately, I know it far too well...) Recorded between January and May 2021 at SINE studio, Ireland. but I'm not is Pawel Grabowski (processed live instruments, field recordings, objects.) Mastering - Colin Potter at IC Studio, August 2021 Cover photo: Artur Mieczkowski (www.instagram.com/anxious_93/) https://silenceisnotempty.bandcamp.com/album/daemon-trances-i-vi "It's been a long time since I heard music by Pawel Grabowski (check Vital Weekly 414, 424, 492 and 508, but following that flurry of releases, it all went quiet for him. That was "mostly due to family, and life in general". Now he has a new moniker and a new label. The new name is But I'm Not (lower case, except for 'I'), and on 'Daemon Traces I-IV' he wanted to compose that captures that unique state is known only to people suffering from the aftermath of a traumatic event". According to the cover, it is something that he is "unfortunately all too familiar with". "Each of the six compositions portrays different aspects of what a traumatized person goes through, often every day - the continuous reminiscing about the traumatic event". This is one of those things of which I think "had I not known this, would I have heard it?". I guess not, but my personal view towards music is a very 'absolute' one. Music is never about anything. Anything attached to music to make it about something is not music; they are words used, descriptions, images (a record cover), that kind of thing. Grabowski explains the nature of the trauma for none of these six pieces, which leaves something to imagine, I guess, but also a hole in our knowledge (why not go all the way). Grabowski uses "processed live instruments, field recordings and objects". It is a pity that these live instruments are not specified. I hear a piano on quite a bit on the pieces, solemnly slow bangs on the keys, Gregorian voices in the first one (which I think that Grabowski went all gothic, but, good news, he didn't), a fair bit of synthesizers and sound effects and the samples of marbles in a bowl (also in the opener). Some of the other sounds are harder to define. Throughout the music solemn, slow and very moody. A bipolar disorder, with some extreme darkness and extreme happiness, is not to be found here. Grabowski reminded me what I thought of his older releases in a private letter, but they are so far away in the past that I don't remember them. Therefore it is not easy for me to say to what extent this new one is different from his previous releases. I think this is a solid album, a severe one, and while the subject is not very well spend on me, I can see that he's serious in creating music that paints a picture of those suffering from trauma and PTSD. [FdW / Vital Weekly] FULL PRESS RELEASE: About daemon trances “Daemon trances I-VI tells a story about experiences of living with trauma and PTSD. My objective when composing this music was to capture that unique state known only to people suffering from the aftermath of a traumatic event. And so, each of the six compositions portrays different aspects of what a traumatized person goes through, often every day – the continuous reminiscing about the traumatic event, the never-ending anxiety, paralyzing panic attacks... For my use, I refer to this state as the “daemon trance,” and the music on this album perfectly represents what I often struggle with in life.” About Pawel Grabowski Pawel Grabowski (b. 1977) – composer specializing in writing deeply personal electroacoustic and drone music. Grabowski uses prepared instruments, field recordings, and objects to create meditative and hypnotic compositions to convey emotions and create unique atmospheres. He refers to his music as Imaginism. Background: ● Although he doesn’t have a formal music education, between 1998 – 2001, Grabowski studied double bass with a famous Polish jazz bassist, Janusz Mackiewicz. ● He also took private tuition in classical composition between 2000 - 2002, first with prof. Krzysztof Olczak, then with prof. Eugeniusz Glowski ● He also participated in international composition workshops at the Academy of Music in Gdansk, Poland, in 2002. ● In 2002, he was selected as one of the artists representing his home city, Gdansk, at the Art Biennale - “ArtGenda” in Hamburg. He wrote music commissioned for various projects of the biennale. ● In the same year, he composed a piece commissioned by the Baltic Cultural Centre in Gdansk, showcased during a presentation of composition students of the Academy of Music. Career: ● Grabowski founded a chamber trio, Miasto Nie Spalo, in 1998 and recorded two albums with the band: Festspielhaus (1998) and Piesni Zalobne I-VII/Threnodies I-VII (2000 - released on the famous polish label, Obuh recs.) ● Between 2001 – 2006, Grabowski recorded solo, publishing his music on such labels as Drone records, Laub records, Cronica, Mystery Sea, Dark Winter, and more. ● Since 2020, Grabowski performs as but I’m not and runs a small, independent record label, Silence Is Not Empty.

€12.00

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BÜTTNER, GREGORY

Pochen - - Oder : Mit Nachschleifendem Zwirnsfaden Die Treppe Hinunterkollern

Format: CD Year: 2014

https://gregorybuettner.bandcamp.com/album/pochen-oder-mit-nachschleifendem-zwirnsfaden-die-treppe-hinunterkollern-2 I recorded the sounds for this piece in March 2011 at the "Performance Arts Forum" in France. The PAF is housed in a former convent school, which was built at the end of the 19th Century in the village of St. Erme in Picardy. After the convent school and a hospital during World War I, various temporary uses and a long term of vacancy, the PAF was founded in 2006 as a workplace for artists. During my three-week stay, I kept sneaking through the 6.400 m2 building: From the attic to the basement, from the small private chapel through the various rooms and artists' studios. I examined the old monastery acoustically, recorded sounds and improvised together "with the house". The role of the house kept moving between sound generator, resonant space and instrument. I recorded breathing wood planks or flickering light switches, explored the different resonant cavities, made metal cabinets resonate or prepared out-of-tune pianos. From the recorded material I worked out a composition, which, organized in chapters, permeates the house acoustically and connects found sounds, digital processing and experimental performance techniques into a "throbbing". All music by Gregory Büttner (2011-2012). Another version of the piece was commissioned by WDR3 Studio Akustische Kunst. Premiered July 2013. Mastered by Giuseppe Ielasi. Photos and cover design by Gregory Büttner, photo inside middle by Anja Winterhalter.

€13.00

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BUTZMANN / KAPIELSKI

WAR PUR WAR

Format: LP Year: 2020

"Komponist, Hörspielautor und Performancekünstler Frieder Butzmann begann bereits Ende der 1960er Jahre im Bereich experimenteller Musik zu forschen. Butzmann wird zu den Pionieren des deutschen Industrial und als Teil der Genialen Dilettanten Bewegung gezählt. Neben zahlreichen Soloveröffentlichungen kollaborierte Butzmann auch immer wieder mit anderen Künstlern wie Genesis P-Orridge, Blixa Bargeld oder Santrra Oxyd. Mit Autor und Künstler Thomas Kapielski arbeitete Frieder Butzmann seit den frühen 1980er Jahren zusammen. Die gemeinsamen Kompositionen sind zumeist minimalistische Stücke, durchsetzt von Alltagsgeräuschen und Sprachversatzstücken. So zu hören auf ihrem Album "WAR PUR WAR", das 1987 auf Zensor erstveröffentlicht wurde und mit seiner einwilligen Mischung aus verschrobenem Electro-Pop und skurrilen Klangcollagen ein gänzlich einzigartiges Werk ist und über die Jahre zu einer gesuchten Rarität wurde. Ergänzt um zwei Bonustracks, liebevoll remastert, mit aufgearbeitetem Artwork und versehen mit unveröffentlichten Fotos und Linernotes von Frieder Butzmann, erscheint "WAR PUR WAR" nun als Neuauflage auf LP und CD bei Bureau B. Composer, radio dramatist and performance artist Frieder Butzmann began exploring experimental music in the late 1960s. One of the pioneers of German industrial music and a member of the Geniale Dilettanten movement, Butzmann has collaborated with artists such as Genesis P-Orridge, Blixa Bargeld, and Santrra Oxyd, as well as releasing numerous solo works. Frieder Butzmann joined forces with author and artist Thomas Kapielski in the early 1980s. Most of their compositions are minimalist tracks interspersed with everyday noises and fragments of speech, as can be heard on their WAR PUR WAR album, first released on Zensor in 1987. This utterly unique work is an idiosyncratic mix of eccentric electro-pop and bizarre sonic collages and has gone on to become a sought-after collector’s item. Now lovingly remastered, with refreshed artwork and two bonus tracks, WAR PUR WAR is being reissued on LP and CD on Bureau B, complete with previously unpublished photos and liner notes by Frieder Butzmann." https://butzmannkapielski.bandcamp.com/album/war-pur-war

€20.50

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CAGE, JOHN

Variations VII

Format: DVD Year: 2008

Historische Aufnahmen von 1966 (41minütiger Film, 85 Minuten Audio)! "In 1966, 10 New York artists and 30 engineers and scientists from Bell Telephone Laboratories collaborated on a series of innovative dance, music and theatre performances, 9 Evenings: Theatre & Engineering, held in October at the 69th Regiment Armory in New York City. The artists were John Cage, Lucinda Childs, Öyvind Fahlström, Alex Hay, Deborah Hay, Steve Paxton, Yvonne Rainer, Robert Rauschenberg, David Tudor and Robert Whitman. Archival material has been assembled into 10 films, each of which reconstructs the artists' original work and uses interviews with the artists, engineers and performers to illuminate the artistic, technical and historical aspects of the work. Variations VII, performed at 9 Evenings, was the next to last in John Cage's series of indeterminate works that he had begun in 1958, which made increasing use of electronic equipment and systems. This DVD documents the only complete performance of Variations VII and also presents a stereo audio recording of the full 85 minutes of the performance. This rare and historical film is the second in the 9 Evenings series from E.A.T. (Experiments in Art and Technology) and ART PIX and was produced by Billy Klüver and Julie Martin of E.A.T. and directed by Barbro Schultz Lundestam." All-region DVD, two-sided for both NTSC & PAL formats. 41 minutes + 85 minute audio track. [label info]

€20.00

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CAGE, JOHN

Complete Song Books

Format: do-LP Year: 2016

“ … to consider the Song Books as a work of art is nearly impossible. Who would dare? It resembles a brothel, doesn’t it?” John Cage. Volume 3 in the Perihel series on Karlrecords is dedicated to one of the most iconic composers of 20th century: John Cage. All 92 pieces of the “Song Books” in stunning interpretations by Reinhold Friedl, recorded at Rashad Becker’s Clunk Studio who also contributed live electronics. John Cage (1912-1992) is one of the most important composers in modern music: with more than 250 compositions, many of which are considered key works of New Music, and theoretical essays on composition he significantly changed the way we think about and perceive music today. But Cage not only left a major impact in the academic world, he is also cited as an important inspiration by a wide range of diverse musicians from a younger generation, be it electronic producers, experimentalists or noise artists. His “Song Books”, published 1970 in three volumes, is a collection of open works that contains not only songs but a strange hybrid collection of compositions, graphic scores, meditation rules, experimental settings, absurd musical instructions, performance settings, musical references, and Fluxus-inspired actions such as eating fruits or drinking cognac (Cage loved whiskey and cognac)… - When Reinhold Friedl (director of the ensemble Zeitkratzer) entered the Clunk Studio to record the whole cycle with Rashad Becker (who handled the feedback cabinet and live electronics), the idea was quite simple: to approach each single piece in an informal way but to do all 92 pieces in the right order. What came out in the end is a kaleidoscopic lecture and interpretation of the compositions with the help of a strange mixture of ancient and modern tools: new electronics, old and special microphones, self-built instruments, arbitrary garbage sounds, sophisticated live-electronics devices, quotes… “Complete Song Books” turns out to be an early hymn for sonic freedom, a sonic promenade full of beautiful references. All music composed by John Cage. Constructed by Reinhold Friedl. Performed by Reinhold Friedl: voice, toys, wooden games, metal objects, complex objects, microphones, garbage… Rashad Becker: feedback cabinet, live electronics. Mastered & cut at D&M, Berlin. Artwork by Lillevan."

€26.50

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CALARCO, JUAN JOSE & DAVID VELEZ

Bahias

Format: CD Year: 2011

"On December of 2009 Juan José Calarco and David Velez captured sound from bays near the cities of Buenos Aires and NYC respectively. They exchanged files for over two years until mid 2011 when the piece was finalized. The artists wanted to explore the opposite weather conditions as an element of difference and the site where they will record (bays) as an element of concurrence to support their site recording work. On the compositional process the artists make gestural and intuitive use of those recordings based on mere formal and aesthetic considerations: Concrete sounds used as material to build new experiences on the listener's conscience where the perception of space and time is altered and distorted under artistic acoustic means. Active since the early 2000, Juan Jose Calarco is a musician and sound artist who works with materials from urban and natural environments. Ranging from the documentation of harbours to water canals to detailed sound topographies of several cities at night, his interest focuses in the narrative and emotional content of the sound matter. His works have been published in several labels as And/Oar, Unfathomless, Con-v, Siridisc, Mystery Sea, Mandorla, Test Tube, Frígida, Sijis or Koyuki and has collaborated with James McDougall, Manrico Montero, David Wells, H Stewart, Ubeboet, Pablo Reche and Nicholas Szczepanik. David Velez is a sound artists currently living in his hometown Bogotá where he is taking a Masters on Fine and Visual Arts. His work deals with the perceptual aspects of time and space and addresses them through textural work as the main formal consideration. His method consists of making use of Field recordings as sound matter that he will instrument through gestural composition and improvisation. David Velez is interested in the relation between the reduced and the casual hearing and the possibilities when involving them into the perceptual acoustic experience. He founded and works for the label Impulsive Habitat and the blog The Field Reporter and he is constantly publishing his works on digital and physical media and performing at concerts at Universities and small venues." [label info] www.semperflorens.net

€13.00

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CAMBERWELL NOW

The EP Collection

Format: LP Year: 2016

Camberwell, in South London, pops up infrequently in pop culture. Perhaps you know it from the Camberwell Carrot, the heroically sized joint smoked in cult movie Withnail & I, or perhaps – if you’re attuned to experimental music – you know of Camberwell Now. The group formed from the ashes of This Heat, the art-noise group whose catalog was reissued on Modern Classics Recordings in early 2016. Not so much a supersession as a continuation of that group, Camberwell Now featured This Heat’s vocalist / drummer Charles Hayward, who assembled an unusual line-up comprising Stephen Rickard, a former BBC sound engineer, on field recordings and tape manipulation and Trefor Goronwy on bass, vocals and ukulele. “We had a very specific set of skills,” says Hayward, in new liner notes compiled for this long overdue reissue, “and it wasn’t immediately clear to us how best to bring them together so that we could play live.” Taking inspiration from seafaring and imperialism, and the fact that the music was created within close proximity to the meridian line in Greenwich, the Meridian EP was originally intended to be a project for This Heat. The group’s departing member Charles Bullen plays on the opening track, “Cutty Sark”, named for the famed British clipper ship. The second EP, 1987’s Greenfingers, was their final recorded work and, according to Hayward, “it’s possible to hear the group atomising and preparing to go its separate ways” within its grooves. The only This Heat or Camberwell Now recording not to have been produced at Brixton’s Cold Storage studios, it was recorded as a DIY exercise and – unusually for either of the groups – was not pored over laboriously for a great deal of time. The EP also saw the addition of a new member, Maria Lamburn, primarily on sax, whose “Element Unknown” was inspired by her experiences in the nuclear protest camp at Greenham Common. Comprising tracks that overlapped between This Heat and Camberwell Now, the EPs concerned themselves with information technology, surveillance, propaganda and what Hayward describes as “day-to-day, hand-to-mouth survival” – all pertinent concerns in a fractured Britain under the rule of right-wing ‘Iron Lady’ Margaret Thatcher, and perhaps still as pertinent today in fractured, recession-hit, isolationist Britain. The group dispersed after a final European tour, amicably, quietly, and differently, the latter their MO throughout a unique career. Goronwy, Hayward and Rickard all share their experiences and thoughts on The Camberwell Now in liner notes accompanying this landmark release: young and old, birth and death captured on two sides of vinyl. Note: On download card (and audio samples above), track one includes the songs “Cutty Sark”, “Trade Winds” and “Pearl Divers”. Total running time for track one is 9:34 and each song is distinct, though they are to be experienced as one long-form piece of music. Release Notes Official vinyl re-issue in collaboration with original members 24 bit/96 kHz re-master from original analog tapes Restored art, expanded to a gatefold tip-on jacket Includes download card with two bonus tracks 8 page booklet with track notes by the artists, lyrics and archival photos Auf Camberwell in South London wird sich in der Popkultur immer wieder bezogen. Vielleicht kennt man es von der Camberwell Carrot, dem überdimensionalen Joint, der im Kultfilm „Withnail & I“ geraucht wird, oder von CAMBERWELL NOW. Die Band entstand aus der Asche von THIS HEAT und bildete sich um Sänger und Schlagzeuger Charles Hayward, der den ehemaligen BBC Sound Engineer Stephen Rickard für Field Recording und Bandmanipulationen und Trefor Goronwy an Bass, Vocals und Ukulele akquirierte. „Wir hatten eine sehr spezielle Herangehensweise“, sagt Hayward, „und zu Beginn wussten wir nicht, wie wir unseren Sound live umsetzen sollten.“ Die „Meridian EP“ vereinigte Einflüsse aus der Seefahrt und dem Imperialismus und spielte auf den Fakt an, dass die Musik nahe am Meridian in Greenwich entstanden war. Die zweite EP, „Greenfingers“ von 1987 war ihre allerletzte Aufnahme, auf der man laut Hayward hört, wie die Gruppe „sich langsam zerstreut und getrennte Wege geht“. Auf der EP war erstmals das neue Mitglied Maria Lamburn am Saxophon zu hören, deren „Element Unknown“ von ihren Erfahrungen in einem Protestcamp gegen Atomenergie inspiriert ist. Die EPs vereinen Tracks aus Zeiten von THIS HEAT und CABERWELL NOW und befassen sich mit Informationstechnologie, Überwachung, Propaganda und dem tagtäglichen Überlebenskampf, ernsthafte Sorgen im gespaltenen Großbritannien unter der eisernen Margaret Thatcher und vielleicht heute noch genauso relevant im zerrissenen, rezessionsgeplagten, isolationistischen Großbritannien der Gegenwart.

€28.00

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CAPPAROS, OLIVIER & LIONEL MARCHETTI

Equus

Alessandro Cortini (Nine Inch Nails) and Japanese noise legend Massami Akita (Merzbow) share a mutual love for the EMS Synthi, a British synthesizer from the early 70's notorious for it's patch matrix, portability and distinct tone. Astonishingly, these two disparate artists meld into a single sound as they flex the analog circuitry of the EMS Synthi in new ways; giving this classic synth a modern workout and proving that, in capable hands, a 40 year old analog synthesizer is a tool for the ages.

€32.00

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COURTIS / MARHAUG

North and South Neutrino

Format: CD Year: 2004

Two performers in collaboration rather known for their harsher or more chaotic works (Anla Courtis was a member of REYNOLS) create a very elegant and softly developing composition... this 45 piece begins very soft, with high & nearly inaudible frequencies, uses crackles & hisses and slowly develops into something LOPEZian, but with more changes and strange sounds in the cold ultra-spheric & far-away drones. great stuff !! “ This much expected collaboration (recordings started 5 years ago in Buenos Aires and Oslo), is released by Antifrost on February 1st. Lasse Marhaug, known from his solo works but also as half of US/Norwegian group Jazzkammer has been around for a long time and has collaborated before with artists such as: Maja S.K. Ratkje, Tore H. B e, Merzbow, Aube, Ronnie Sundin, Kevin Drumm, TV Pow, Francisco L pez, Leif Elggren,, Mats Gustafsson, Fe-Mail, Andreas Berthling, Otomo Yoshihide, Sachiko M, Taku Sugimoto, Mark Wastell, Matt Davis, Reynols, SPUNK, Kim Cascone, and many others. The other creative half of this collaboration work is Anla Courtis, the guitarist and main composer behind the famous Argentinian group Reynols. The cover illustration/ artwork of the CD is done by the prestigious Swedish artist Leif Elggren (of Elgaland/Vargaland - Fireworks Editons).” [press release] ”The Antifrost label has put out some of the most challenging records of recent times, and this collaboration between Lasse Marhaug, one half of Norwegian noise thugs Jazzkammer and Anla Courtis, the musical mastermind behind the unruly Argentinians reynols, is as forbidding as they come. For the opening half hour it is a minimalist exercise in the slow motion deployment of a small clutch of extreme frequencies. Then a richer metallic texture emerges from the brittle digital atmosphere recalling the isolationist going pieces of Thomas Koener. This darker, more brooding sound is submerged once more into the digital realm, as if we are viewing the same vast, immobile object from above and below the waterline. Or perhaps it is the subatomic particle referenced in the album title under two different magnifications. It's certainly not an easy listen, but submit yourself to its cold, dramatic logic and you will be rewarded.” [THE WIRE/ Keith Moline]

€13.00

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COURTIS, ANLA

Antiguos Dolmenes del Paleolitico

Format: CD Year: 2006

„Alan Courtis hat altsteinzeitlichen Grabstätten, wie auf dem Cover zu betrachten, reine Feedbacks, ohne Einsatz von Mikrofonen oder anderen Instrumenten gegenübergestellt. Mit einem nachempfundenem Grundraunen steinalter, mit Menschenschweiß getränkter Felsen, beginnt der erste der mit Part I – IIII betitelten Stücke. Im Verlauf der gesamten knapp 48 Minuten erfahren die im Feedbacksystem gefangenen Töne eine Läuterung von sirrenden zu glasigen Drones – refreshed Drones, wenn man so sagen will. Damit ist aber keine einschmeichelnde Glätte erzeugt, denn die Töne wandern immer wieder in alarmierende Frequenzen höchster Register. Zur Schmerztherapie kommt der Gedanke an die Erbauer der Felskonstruktionen, wie sie tonnenschwere Steine ohne Kräne etc. aufeinanderstapeln. Behaglich lehnt man sich dann im Hörsessel zurück und lässt sich die Ohren mit akustischen Sticheleien reinigen.// Megalithic stone structures, to see on the cover, seems like an inspiration for these very pure recordings of Alan Courtis. „No microphones, instruments or inputs of any kind were employed in this project.“ as the linernotes are telling. The first track starts with a basic murmer of the old rocks. In the course of the 48 minutes, the tones of the feedback system change from buzzing to drones of crushing glasses – drones refreshed. That means no smoothness, because the sharp tones are moving up to highest frequencies. Thinking about the humans who have built up these stone structures under pain, the listener leans back in his armchair while acoustically brooms are cleaning up his ears.” [Peter Schlewinski for Drone Records] "...a composition in four parts created exclusively with processed no-input feedback and inspired by these stone monuments. It was created in early 2004 and is the first full-length solo CD from Argentinian composer Alan Courtis, a founding member of the group Reynols. Courtis currently lives in Buenos Aires, and has toured extensively in USA, Europe, Japan & Latin America collaborating with artists such as: Pauline Oliveros, Damo Suzuki, Toshimaru Nakamura, Makoto Kawabata, K.K. Null, Rick Bishop, Thomas Dimuzio, Jason Kahn, Solid Eye, Birchville Cat Motel and Lasse Marhaug. Technical equipment employed: Phonic 1002? Mixing Desk, Art SGX LT Effects Processor, Digitech RP6 Effects Processor, DOD FX55B Supradistortion, Tascam 424, PC (Wavelab). No microphones, instruments or inputs of any kind were employed in this project. Recorded and mixed at 8(8)8 Studios, Buenos Aires, Argentina. January-March 2004" [label info & credits]

€13.00

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CRAY

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David Daniell and Douglas McCombs's first collaborative LP, Sycamore, was assembled from seven hours of in-studio improvisations. Daniell and McCombs sifted through the material looking for their favorite moments, then combined, cross faded, mixed, and matched those moments into something that made sense to them as a long player. For their new release, the double LP Versions, they gave the same seven hours of material to noted recording engineer and producer Ken Brown (ex-Tortoise), who was given free rein to assemble an LP of his choosing (subject to approval, of course). The results are fantastic. Brown has chosen to highlight moments in the music that the normally reserved Daniell and McCombs probably would not have chosen. There's a wider dynamic range on Versions, from brutally raw to delicate to practically inaudible. The other interesting aspect is that Brown's selections rarely cross over with the material on Sycamore--this is in no way a "remix," and that is exactly what Daniell and McCombs were hoping for. In addition, Versions includes a second LP of two live performances. These were chosen to show how Daniell and McCombs's music develops in a live setting. Improvising in a recording studio and improvising in front of an audience are two vastly different things. Montreal and Knoxville were two of Daniell and McCombs's favorite performances from their tours together. Over the years Daniell has collaborated with many notable musicians, including Loren Connors, Rhys Chatham, Tim Barnes, Jeph Jerman, Thurston Moore, Greg Davis, and Jonathan Kane, as well as releasing numerous albums under his own name and with his band San Agustin on labels such as Table of the Elements and Family Vineyard. McCombs is more often seen wielding a bass guitar, whether as a member of Eleventh Dream Day, the acoustic collective Pullman, or the pioneering and inimitable Tortoise; in his role as the driving force behind Brokeback; or through his varied work with the likes of Tom Ze, Azita Youseffi, Will Oldham, Yo La Tengo, and Calexico. www.thrilljockey.com/artists/david-daniell-and-douglas-mccombs https://daviddaniellanddouglasmccombs.bandcamp.com/album/sycamore

€20.00

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DAO + COH

Dzerzhinsk-9

Format: LP Year: 2009

"Tourette Records is proud to announce the release of DZERZHINSK-9 by DAO+COH (Andrej Kolesov and Ivan Pavlov). Originally recorded in 1996, this collection of previously unreleased material showcases COH's trademark audio experimentation, and the collaborative spark shared by both artists. DZERZHINSK-9 represents some of the earliest work by this duo, and pre-dates Pavlov's first solo release on raster-noton.de by 2 years. This potent collection of intense and dark experimental material is a result of a live-in-the-studio improvised session recorded during one of Ivan's visits to DAO studio in Dzerzhinsk, Russia. Performed with hand-made digital and analogue equipment, and recorded onto a 4-track cassette deck, this is a gem of curiosity to anyone with interest for COH and electronic music in general. Russian-born Ivan Pavlov is well known for his solo work as COH spanning more than 20 releases, including collaborative projects with the likes of Coil and Cosey Fanni Tutti. He currently works with Peter Christopherson (Throbbing Gristle, Coil) in SOISONG. Ivan's university friend, Andrej Kolesov (aka DAO), is a musician who has previously contributed to the album COH: STRINGS (2007), playing saz and oud. A new joint work by Andrej and Ivan is currently in the works." [label info] "... DAO + CoH uses bass, guitars and custom ZX Spectrum and the results are pretty damn awesome. The beats are really energizing while the bass comes through like Jack Dangers in fine form. There is a distinct 90‘s flavour and yet it retains a freshness. ‘Propharadeia’ is a really driving track that makes me shake my body from finger to toe. ‘Oka’ is dark and sinister coming through like an Autechre/Muslimgauze hybrid, seething with eastern paranoia. ‘Sung In Sand' continues the eastern flavour with its building intricate yet subtle percussion and swooping synths. Out on Tourette records. Great stuff!" [Ant / Norman Records]

€10.00

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DAS AUDIOVISUELLE KOLLEKTIV

Verwandlung

Format: CD-R Year: 2011

"This live performance from the ‘Elektromagnetischer Sommer’ 2011 festival in Zurich features prepared guitar player Gerhard Zander and ‘musicien concrète’ EMERGE, on samplers and contact microphones, both interacting with the visual cues from Eazy’s live processing of abstract images on the theme of metamorphosis (‘Verwandlung’), an extract of which can be seen in the sleeve art. The 45-minute set is dominated by gently droning ambient textures and looped chords in unhurried pulses while a constant interplay with metallic, rather high-pitched samples originating from guitar and electric bass, but sometimes more reminiscent of saxophones, manages to sustain interest throughout. Formed in 2010 by audio and video artists from Augsburg and Zurich, ‘The Audiovisual Collective’ has since developed towards an ever closer integration of the sounds that are used to communicate a sonic counterpart to the images projected during their performances. With lots of reverb and effects used on the prepared electric guitar, which is frequently played with an e-bow, thus losing its typical ‘plucked’ character, its texture often resembles the droning quality of the time-stretched samples. In turn, EMERGE adds live signals to his mix of samples, picked up through contact microphones and subjected to various forms of live processing. Its idiosyncratic mix of what could be described, depending on the listener’s preference, as aqueous 1960s sci-fi movie sounds or vintage Pierre Henry with mandala-like tranquillity, plus the occasional exhilarating outburst of semi-noisy hyperactivity towards the end, maintains harmonic structures throughout and thus makes for an accessible introduction to the world of free electroacoustic improvisation that still contains lots of interesting details for experts in that field." [label info] www.wix.com/attenuationcircuit/attenuation-circuit

€8.00

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DAS SYNTHETISCHE MISCHGEWEBE

Gleis3eck / Görlitzer Tunnel

Format: do-CDR Year: 2006

"The long-running (22 years and counting) German-spawned outfit Das Synthetische Mischgewebe (The Synthetic Mixture of Fabrics in English) has a long history of site-specific performances and recordings, two of which are documented on the two CDs comprising this release. Recorded around the time the group departed from Germany for Barcelona and then France, it’s fitting that both of the sites here represented no longer exist. In 1986 and 1987, Berlin was still a victim of the Wall, and deserted spaces were seemingly easy to come by. One such was the Gleisdreieck, a railway junction where DSM set up their electronic and acoustic instruments for an extended recording, of which some 85 minutes are hereby presented. The second location, of which 46 minutes is included, was the Gorlitzer Tunnel, a pedestrian underpass several hundred meters long under Kreuzberg. It would be of no avail to try to determine exactly what instruments, items and gadgets were used to make the sounds heard in these recordings – and that mystery suits these CDs well. It’s useful to recall that this was around the same time as Einstürzende Neubauten, also in Berlin, were releasing Halber Mensch and Funf Auf Der Nach Obenen Richterskala, their strongest statements. Berlin at that time (beautifully documented in the Berlin Super 80 DVD/book package) had more than its share of experimental artists, and DSM’s sounds were emitted from the least-accessible cracks in the city’s pavement. From quiet rumblings, these performances grow via distorted hissings, squawks, clanks and grindings into a soundscape akin to a futuristic factory stamping out robots. Metal is scraped, mechanical contraptions buzz and squeak, feedback squeals and vibrations summon deep groans. The second track on disc 2, the Gorlitzer tunnel set, is on the whole a quieter, more eerie evocation of the location’s deep reverberations, with what may be a generator rumbling quietly in the background. The occasional vocal interjections, echoing in the tunnel, are unexpected and deeply strange in the context of the overall darkly mysterious sounds. Limited to 200 copies, the two CDs come packaged DVD-style with a beautifully-printed insert of text and photos on translucent paper. The liner notes by member Guido Huebner nicely describe the place and time. These recordings are marvelously evocative: of lost places, of a time and location that was certainly unique, of a group’s early works from 20 years ago, and of surreal, often intimidating imaginary places summoned by the mysterious equipment. One would hope that many more than 200 people would want to investigate these places." [Mason Jones / Dusted Magazine] "These days it's probably no longer known, but Das Synthetische Mischgewebe was a band, and not the project of G.do Hübner, which it is since some time. Before people like Yref, Chazev, T.O.W. Richter, Isabelle Chemin and Jean Rene Lasalle were member at one point or another. The recordings on this double pack are in more than one way historical. They are old, twenty years to be precise, but they were also made in the then divided Berlin, in a place you can't find anymore. Das Synthetische Mischgewebe used an old tunnel and a subway station going from East to West Berlin to rehearse for concerts that were later held. Abandoned industrial areas, in which they could easily find material to play their music on. Everything you hear on this double pack is recorded on the spot, using what ever is available there. Industrial tools, scraping metals, obscure objects which we can't visualize and such like. But they are played like musical objects and rather than trying out what the sound possibilities are, the actors in Das Synthetische Mischgewebe want to play a piece of music with those objects, so they carefully move about and create pieces of improvised music with these objects. Battery run amplifiers and a walkman to record the whole thing onto give this a slightly rough edge, although I must say that the sound quality is more than excellent. Cut into sessions of thirty minutes, this can't be engaging to hear from beginning to end without leaping into a moment of boredom, but throughout I thought this was a very fine release. Not loud or heavy industrial as some of the early work was (or perhaps that's just a wrong memory? Apparently Vinyl On Demand is releasing some LPs with older work), but rather pre-dates a lot of the onkyo type improvisation of the last few years and a very fine work of electro-acoustic music. Topped off with a nice presentation and a most enjoyable set of personal liner notes. Great archival release." [FdW / Vital Weekly]

€18.00

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DAS SYNTHETISCHE MISCHGEWEBE

Neunundvierzig Entgleisungen

Format: do-10 Year: 2008

"....What you hear on this pack is four delirious sides of hermetically-sealed confusion, playing havoc with your acoustical preconceptions and expectations until you won’t know which way is up. Noise, glitches, murmurs and clicks are abstracted by careful processing, and apparently edited together into microscopic mosaic patterns to stimulate your perceptual receptors in ways you’d never have thought possible. Jean René Lasalle contributes profuse printed texts inside the cover, which are likewise streams of cut-up absurdist poetry containing such deathless observations as “glances irrigates elytrons in a trembling headlight”. Françoise Vigot did the cover paintings, featuring the domestic (and amorous) adventures of the red and blue cipher-like figures whose antics I have seen, I think, on a Hypnagogia release by DSM. Verily, Huebner’s universe is an elaborate many-layered puzzle which is slowly coming together for this listener." [The Sound Projector] "aufabwegen is very proud to offer a new release by what we consider to be one of germany's most important sound projects: DAS SYNTHETISCHE MISCHGEWEBE. DSM is now the sole project of guido huebner, who has been working in the medium of sound and found objects since the early 1980ies. DSM have their very own take on the patialization of sound and the moving around of sonic objects in the stero field. the overall impression is of rawness and fragility at the same time. the music on these two 10" records is super-dynamic and fragmentated and sounds very fresh and alive. DAS have collaborated over the years with artists such as Michael Northam, Frans de Waard, New Blockaders, MSBR and many more and have released material on various labels around the globe. DSM have played many concerts all over and have combined their sound with different art froms, such as projections, film, dance and even conducting workshops fro kids. "neunundvierzig entgleisungen" comes in a full cover fold sleeve and is slipped in a stable plastic seethrough. it plays on 45rpm, even if the label prints instructs you to run it at 33. the record was recorded by guido huebner and features texts by jean rene lasalle and artwork (paintings reproduced) by francoise vigot. it was layouted by stefan hanser (anemone tube), mastered by josef suchy and cut by lupo at dubplates & mastering." [label info] www.aufabwegen.com

€18.50

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DB/MZ (dB/Mz)

The Light to come

Format: CD Year: 2015

"dB/Mz is Magnus Zetterberg (aka Manifesto) and David Bengtsson (aka IOK-1) is more than just a collaboration between two artists is the sum that is more than just the whole of its parts dB/Mz is seduction is contemplation is gritty yet accessible is light and darkness entwined is the pulse of a heart that stops beating is Lustmord, Deathprod and Thomas Köner combined dB/Mz is what you should hear if you’re into moody contemporary electronic ambient music with a dark twist -- CD in a 6-panel ekopack Limited to 300 copies Music by Magnus Zetterberg & David Bengtsson Artwork by Emmi Herterich Sleeve design by Silken Tofu manifestodarkelectronics.com iok-1.bandcamp.com" [label info] www.silkentofu.org

€12.00

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DBMG/RAF (DIE BAADER-MEINHOF GRUPPE / RED ARMY FACTION)

same

Format: CD Year: 2009

Radikaler Elektro / Noise / Rhythmic Industrial aus Kanada mit starker politischer, antikapitalistischer Ausrichtung (das RAF-Logo auf dem Cover), dabei musikalisch abwechslungsreich & überzeugend arrangiert, teils fast rockig-tanzbar, teils extrem krachig! "Die Baader-Meinhof Gruppe / Red Army Faction is Joshua David Richardson with a revolving door of collaborators, which include: Scott E. Farmer (Russian Futurists), Sam Devos (For Greater Good), and Edwin Vanvinckenroye (Tribe) amongst others. According to Richardson, DBMG/RAF is a chance for musicians and multi-media artists to explore the use of violence within their chosen medium for the expressed purpose of destroying the economic, social, and artistic structures imposed on them by Late 20th and 21st Century Capitalism. It is inspired by the actions of West-Germany’s Red Army Faction (also known as the Baader-Meinhof Group), which sought the violent overthrow of West-Germany’s post-war governments from the 1970’s until its official disbandment in 1998. Politics aside, this is one freshing new release that actually lives up to being true INDUSTRIAL music. It is noisy, chaotic, harsh, violent, full of anguish and torment while still carrying a strong beat. This is the kind of industrial that will immediate clear the dancefloor at your local goff-idustrial club, will sort out the real rivetheads from the poseurs, and have noise music enthusiasts begging for more. There’s a good amount of variety on this CD too- a post-punk “Peter Gunn” inspired rhythm track with whacked out old school analogue electronics, middle-eastern Indian ambience with the sound of war in the background (perfect for planning your next Jihad), Deutsch Nepal and Memorandum inspired beats with radio transmissions in the background, slabs of whale-toned cries from the deep, broken and distorted sonics over a militant backbeat with appropriately painful processed vocals, wacky distorted rhythmic melodies, and much more. It is experimental without being unlistenable. Alienating while still being engaging. Even when Richardson is using those overly-familiar sounds and elements, they never seem dated or clichéd. When it comes to this kind of music, this guy obviously seems to know what he’s doing and doesn’t wear his influences on his sleeve like so many others who’ve attempted it. If I had one thing to nit-pick about, it might be the use of overuse of spoken word samples, which is a pet peeve of mine in any music genre. Purists can argue as to its appropriateness, but I feel that a constant barrage of it is a bit clichéd. Thankfully, Richard tempers it with other interesting elements. This release has an awful lot going for it and has so much variety that it has a very high replayability factor, something that I haven’t heard in a good number of harsh music projects that I’ve reviewed positively. It is also not a constant torrent of torturous sounds; there are quite a few quieter moody moments. Nothing is overly-long or intolerable. If this was released on CMI, it might be the album of the year in Europe. Red Army Faction is like having the best moments of bands like Mental Destruction, In Slaughter Natives, Esplendor Geometric and Brighter Death Now rolled into one steaming package. Perhaps it’s due to the duality of the name Die Baader-Meinhof Gruppe / Red Army Faction and its association that makes this music project totally oblique in a Google search. If you want this music, you REALLY have to know where to look. You can find it on iTunes (Die Baader-Meinhof) or CD Baby (http://cdbaby.com/cd/baadermeinhof) but I’d recommend just going directly to the website since there videos, more info and purchase options there. Definitely recommended!" [Steve Mecca / CHAIN D.L.K.] www.dbmg-raf.com

€13.50

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DE WAARD, FRANS

America’s Greatest Noise

Format: BOOK Year: 2024

The next book on Korm Plastics contains no photographs of the artists, no list of released records, no pictures of record sleeves, and no footnotes. It is not a hardcover, not on glossy paper and is not expensive. It’s… ‘America’s Greatest Noise’ tells the story of Ron Lessard, owner of RRRecords, a record store in Lowell, Massachusetts and, from 1986 to 2009, a record label, releasing the albums of Blackhouse, F/i, PGR, the first Merzbow LP outside Japan and many more, regional compilations, three widely acclaimed lock groove records and a series of anti-records, records with no music but a more conceptual and visual edge. RRRecords is also responsible for the RRRecycled Music series, which has over 300 releases on re-purposed cassettes. Ron Lessard played music with his group Due Process and solo as Emil Beaulieau. Up until his retirement from the noise scene in 2006, he played many concerts and released a string of cassettes, LPs, and CDs. During his concerts, Lessard dressed up like a businessman and used a four-armed turntable, dubbed the Minutoli, and his performances were comical. In this book, he tells for the first time his story in music about the highs and lows of running a label and a record store, weird projects, unfinished projects, encounters with other musicians, being on the road, and much more. Also included are two appendices: one with interviews from the past (fanzines and websites) and a chapter from Michael Tau’s ‘Extreme Music’ about the anti-records released by RRRecords. Images used were sourced from flyers, invitations and fanzines. Introduction by Dominick Fernow (Prurient, Hospital Productions) The first 1000 copies come with an anti-flexi, cutting up a conversation about anti-records between Ron Lessard and the author of the book, Frans de Waard. Cut up by Howard Stelzer. You may use this flexi as a bookmark. Paperback book, 144 pages, black and white images. Design by Alfred Boland Ships after July 1st; official release date: July 5th (if you know, you know) Softcover, 17×24 cm, 144 pages https://www.kormplastics.nl/americas-greatest-noise/

€15.00

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DE WAARD, FRANS / MARTIJN COMES

Various Weights

Format: CD Year: 2020

"Various Weights is the first time the duo of Frans de Waard and Martijn Comes come together to present work. On this album, their uniques styles are combined, where they work with each others sound materials to create truly unique compositions. Various Weights In sound art, concepts often take precedence over the actual music. Here, there were none. For their first collaboration, Frans de Waard and Martijn Comes decided on a strikingly simple approach: Each artist compiled a pool of sounds for the other to use as a point of departure. Comes worked with various analog synth- and field recordings by de Waard (including, among others, a Korg MS20 and Koma Field FX). The latter was sent a processed stylophone recording, a sample loop as well as recordings of the Web’s first Software-Defined Radio by the University of Twente. The results, now released as Various Weights, are two epic and immersive pieces. On “Boundary of Intersections”, Comes focuses on deep sonorities and harmonics, developing his materials into a mind-expanding drone zone. De Waard’s “There are no two pianos” is more subdued, hovering mysteriously at the cusp of acousmatic research and sonic minimalism. Both pieces share a slightly uneasy, surreal feeling – perfectly captured by Bas Mantel’s artwork, which was a direct response to the sounds contained on the disc. The bonus-CD to this release, limited to 50 copies, contains a full 35-minute performance by both artists at De Ruimte Amsterdam after the project had been completed. Magically, the music appears to be a direct continuation of the album tracks. As such, Various Weights ingeniously juxtaposes live- and studio techniques, solo and duo work, spontaneous improvisation and meticulous composition. That, whether the artists intended it that way or not, probably makes it a concept album after all." Tobias Fischer, March 2020 https://www.movingfurniturerecords.com/frans-de-waard-martijn-comes-various-weights/

€12.00

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DEAD CAN DANCE

Dionysus

Format: CD Year: 2018

"This second release from the recently reawakened Dead Can Dance is quite a delightful surprise, radically departing from its uneven predecessor and displaying a striking degree of creative reinvigoration. Rather than another stab at recreating classic DCD fare like Aion, Dionysus is a conceptually rich and structurally inventive plunge deep into the folklore and spirit of Dionysian rituals and festivals. An intriguing concept does not necessarily lead to an intriguing album, of course, but Dionysus finds Dead Can Dance at the peak of their instrumental powers, unfolding as feast of wonderfully vibrant rhythms, esoteric instrumentation, and inspired arrangements. It is quite a remarkable and improbable achievement, as it sounds very little like prime Dead Can Dance, yet absolutely feels like prime Dead Can Dance. If Dionysus had come out in the band’s golden age of the late '80s and early '90s, there would most certainly be a small but devoted contingent of fans that viewed it as dark horse contender for the duo's finest album. If I am being completely honest, I truly did not expect Dead Can Dance to ever record another great album, as the feeling I got from the reunion tour and Anastasis was that Brendan Perry and Lisa Gerrard are now far more like two loosely entwined solo artists who periodically collaborate than they are a united creative force these days. For the most part, Dionysus does little to dispel that sense, but it definitely seems like the duo have found a way to flourish within those conditions. Based on all that I have read about this album, it is quite clear that Perry was the album's driving force and that it was a labor of love birthed from a deep fascination with how pagan/Dionysian beliefs have spread, transformed, lingered, and evolved in the wake of the Roman Empire. Perry was originally drawn to the theme by European spring and harvest festivals, but the reach of the album seamlessly dissolves boundaries in culture, time, and space like only Dead Can Dance can do. For example, Perry's field recordings alone touch upon South America, New Zealand, and Switzerland and his musical inspirations are even more widespread, delving into traditional instrumentation that spans just about the entire globe. While there some wonderfully exotic and otherworldly sounds occasionally appear, such as the eerily flute-like see-sawing tones and jungle-like chirps in the closing "Psychopomp," that unusual instrumentation is less of a focus than it is a set of specialized tools that Perry used to get exactly the feel he wanted. In fact, Dionysus is largely a very percussion-driven affair, an approach that is especially effective on the muscular and propulsively off-kilter opener "Sea Borne," which abstractly evokes Dionysus's mythical arrival from The East. While the album's bookends are both quite strong and easy to identify, the delineation between individual pieces on Dionysus is quite a purposely blurry one, as the album is structured as a two-part oratorio with different movements that tie to different aspects of Dionysian myth and folklore. For example, "Dance of the Bacchantes" is inspired by a rite in which women "abandoned their domestic duties for trance-like processions and dances," while "Liberator of Minds" celebrates hallucinogens and "The Forest" is a "call to abandon worldly and material pursuits and return to a primeval enlightened state of being." Happily, Perry opted to keep the narrative arc an abstract and impressionistic one, so this concept album deftly eludes the perils of dubious lyrical content or exposition. Curiously, it does sound like Perry is singing actual words in some language in the two closing movements, but the language is a fictional one, as Perry wanted to "convey emotion beyond the boundaries of language itself." In lesser hands, such a conceit would likely end in disaster. In this case, however, it not only flows seamlessly but seems like a crucial part of establishing the timeless and ritualistic headspace that the album inhabits. Recognizable words would have killed the spell. The music is not quite as liberated from the constraints of existing culture, however, as Perry is quite fond of Middle Eastern scales and melodies. The overall feeling is not entirely Middle Eastern though, as some medieval-sounding touches certainly bleed in, as do some sounds that seem plucked from real or imaginary tribes hidden deep in the heart of a tropical rainforest. At Dionysus's best, all of those threads combine into something that resembles an alternately raucous, sensuous, and ritualistic village dance that pulses with visceral rhythms, call-and-response chants, and primal eruptions of ululating yelps. Admittedly, tt feels a bit weird to love a Dead Can Dance album in which Lisa Gerrard plays a noticeably reduced role, as she only takes over lead vocals on "The Invocation" (I think). However, her voice continually surfaces throughout the album as an added choral layer or to echo or harmonize with Perry's own vocals. That might not sound like much, yet her essence pervades the proceedings in a deeper way, as Dionysus bears little resemblance to Perry's solo work. This simply is not a vocal-centric album in the traditional Dead Can Dance sense, nor does the mood quite suit Gerrard's hammered dulcimer talents and the duo have the good sense not to awkwardly shoehorn in touches that do not belong. In fact, Perry and Gerrard show an almost supernatural instinct for avoiding false notes or missteps, favorably calling to mind a time in the distant past (The Serpent's Egg) when they seemed like an absolutely infallible force of nature and each new album felt like a communion with something deeper and more meaningful than anything the present era offered. There is not a weak moment to be found here, as my sole caveat is that the album feels all too brief at a mere 35 minutes. None of that time is squandered at all though, so it is hard to grumble: if the perfect arc is just over half an hour, then that is the proper length for the album to be. I had hoped that Perry and Gerrard might have some more classic songs or a return to form lurking in their shared future, but Dionysus has easily transcended those modest expectations by feeling like the beginning of an extremely promising second act to their long and illustrious career. Nostalgia and welcome familiarity are great, but reclaiming relevance and forging into compelling and unique new territory is far better." [Anthony D'Amico]

€16.00

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DEAD CAN DANCE

Dionysus

Format: LP Year: 2018

€28.00

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DEAD MAURIACS, THE

Beaute des Mirages

Duenn (Fukuoka, Japan) is an electronic musician and composer producing minimal works, using a minimum of equipment. With "On Layer" he brings us 5 fragile dreamscapes reminding of the late, great Oophoi, which says a lot about the impact of the music... Duenn (Fukuoka, Japan) is an electronic musician and composer producing minimal works, using a minimum of equipment. Through collaborations with other artists, both sonic and visual, Duenn seeks an expansion of self. In 2017, Duenn formed the experimental collaborative unit 3RENSA with Merzbow and Nyantora. Duenn co-hosted the ambient event "Hardcore Ambience" with Nyantora. Duenn's works have been published by Entr'acte (UK), SicSic Tapes (DE), New Motion (COL), OnmyÅdÅ Cassette (US), Grumpy Records (UK), Slowdown Records(JP), Progressive Form (JP), White Paddy Mountain (JP). duennjp.tumblr.com https://soundcloud.com/silentes-13 "The latest from Japanese electronic sound artist Duenn is Pattern. This recording is laid out in two parts, or two lengthy ambient ‘patterns’. The sonic soundscape drifts, or rather it glides along extremely fluidly. Any slight ripple is noticeable in this rather minimal composition of secluded harmony. About five minutes in most listeners will dip slowly into a quasi consciousness. The light layers, many of them, overlap just slightly, all quite transparent, but in succession create a haze induced by a low-slung reverb and a glaze of light static. Though a cloudy density is certainly well built, the impossibility of gravitational disconnect is presented. These resonances seem incurably weightless. I’m reminded of countless documentaries of rockets zooming toward outer space, as the atmospheric layers are pierced, parts of the ship are discarded to make way for the central navigation pod, think Apollo 9 and its more glorious successors. Consider space as a whole, and altitude, and the complexity of being untethered to Mother Earth. It’s daunting, and somehow as soothing as any sleep concert I’ve ever attended. On the flipside Pattern [part II] opens in darkness, but quickly opens with split warm and chill tonalities. We are now on a journey it seems, and the synths here are aligned with smoothly brushed lines making for quite a meditative piece. The inflections developed are more ranging in the second part, rising to a brighter hue that seems to continue expanding with each gentle modulation. If sound were nature, this would be a waterfall upon a high mountain peak." [Toneshift]

€13.00

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DUKE, ANDREW / AKUMU

Organic

Format: CD-R Year: 2006

Two new unknown names for us on John Gore's (KIRCHENKAMPF) label: ANDREW DUKE has 10 shorter pieces with delayed object-noises, nicely effected roaring drone-waves, weird electronic sounds, and glitchy rumbling granulation-fields, many details & ideas here, every piece is different... AKUMU presents three permeating sonorous drones with lots of micro-sounds... great CDR, much recommended! "two Canadian sound artists: Andrew Duke of Cognition Audioworks of Nova Scotia presenting his cutup glitch compositions and Akumu (aka Deane Hughes) three tracks of deep drone - limited to 100 copies" "I always appreciate Cohort’s will to present non-commercial electronic music from all over the world, even at the price of a few minor releases. But the good ones are REALLY good, and this is one of them. Andrew Duke, who is a renowned composer active in many different media, is here represented by a series of relatively dark tracks which feature quite a lot of spontaneous instrumental generation, in addition to Andrew’s obvious technical skills. Deceitful patterns and clashing reverberations release inexhaustible, mind-dislocating clouds of frequencies that contrast – or get married to – hypnotic vicious circles in an unpredictable kinship with hypothetical altered states of mind. Headphones are recommended to catch every minute detail, as Duke works at the margins of the audio spectrum to deliver his brand of electronica from any preconceived interpretation, virtualizing events with the equidistant calm of a neutral observer. Dean Hughes (Akumu) is even more obscure, entrancing and – contrarily to what the titles might suggest – organic. His three tracks are long explorations of the psyche through a mass of extremely resonant low drones that suggest no other behavior than a total relinquishment of our will to penetrate their structure (no pun intended). For my own taste, this is the best half of this split album, bringing memories of current masters of the genre (Frans De Waard’s Shifts and Freiband projects come to mind) through a masterful modulation of our sensitive apparata. But the whole CD is excellent, and it would be unjust on my behalf dividing the artists’ merits." [Touching Extremes]

€9.00

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DUNCAN, JOHN

Organic

Format: LP Year: 2018

"The inter-disciplinary maverick John Duncan emerged in 1970s Los Angeles as a confrontational performance artist and, as the decade progressed, aligned himself with the experimental-music collective Los Angeles Free Music Society. His sound art appeared on various self-released cassettes and alongside artists such as Jim Pomeroy and Yoshi Wada on the Los Angeles Institute of Contemporary Art's influential compilation Sound. Duncan's debut album, Organic, released in a tiny edition on the artist's own AQM imprint in 1979 and distributed through LAFMS, collects some of his earliest and most absorbing noise experiments. Recorded live, Organic is composed of two sidelong pieces: "Broken Promise," a patient, murky dirge featuring Duncan on tape and percussion, plus Michael Le Donne-Bhennet on bassoon; and "Gala," a kinetic, durational percussion piece featuring Duncan alone. The meditations on texture and unpredictability, realized with unconventional and found sounds, anticipate his later work with shortwave radio. First-time standalone reissue. Limited edition of 500 numbered copies on clear vinyl."

€25.00

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DUNCAN, JOHN / KONTAKT DER JÜNGLINGE / C.M.VON HAUSSWOLFF

Untitled

Format: CD Year: 2007

Übriggebliebene Kopien einer CD die anlässlich eines DIE STADT-Konzertabends in Brüssel (18.10.2007) veröffentlicht worden ist: Ein langes live-Stück von JOHN DUNCAN (San Francisco July 2007) -> wieder spürt man man hier die rohe & archaische Kraft von reinem Klang und die grossen Dynamikeffekte von eingesetzer "fliessender" Stille (24+ Minuten). Überraschenderweise dann ein älterer live-Mitschnitt von KONTAKT DER JÜNGLINGE, und zwar vom Mai 2003 aus Montreal, der sie sehr rauh und ausserweltlich dronig zeigt, auf verschiedenen Klangleveln (gefällt uns natürlich ausgezeichnet). Bei CM VON HAUSSWOLFF geht es wie gewöhnlich noch 'ne Ecke verschrobener zu, wenn beim "All Tomorrows Parties"-Festival (?) rhythmisch wiederkehrende Quietsch- oder Sinustöne zu vernehmen sind.... diese CD funktioniert sowohl als rares Bonus-Material für die Fans, aber ist auch für Drone-Novizen geeignet, die sich in die Materie hineinzoomen wollen. "To be on Die Stadt as an artist seems to me a great thing. Besides great looking releases, they organize events for you, and for such an occasion they usually release a CD or a 7", which can be bought on the night, but there is always a left-over for the unlucky who didn't make it. Last month there was an event in Brussels with three stable mates: John Duncan, CM von Hauswolff and Kontakt Der Junglinge. Perhaps Die Stadt asks too much of their artists, and none did a new studio recording, but you could also think it's interesting to capture a live track by them. So three live tracks here. Duncan's piece was recorded at the Compound, earlier this year, and although it's a while since I last heard studio recording by John Duncan, it sounds like a trademark piece for him: micro tones, composed from heavily processed shortwave sounds, make up a fine piece shifting from intense loudness to careful and delicate. Very nice. Kontakt Der Jünglinge, being Asmus Tietchens and Thomas Köner, present a recording from 2003, at the Mutek festival. They too present a characteristic piece for them with computer processing of acoustic sounds. Loads of dark rumble and high pitched processed sounds. Hauswolff's piece seems to be made with bird sounds, looped around and with a crescendo of noise coming in and more insect like sounds. Nice but not his best. Three good introductions of three great artists (well, four), in case you ever would need that." [FdW / Vital Weekly] www.diestadtmusik.de

€13.00

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DUNCAN, JOHN & C.M. VON HAUSSWOLFF

Our Telluric Conversation

Format: CD Year: 2006

„John Duncan und Carl Michael von Hausswolff sind bestens bekannt für ihre Erkundungen auf dem Gebiet der minimalen Klangbereitung. Schon für sich allein vermeiden beide den Überfluss und das Geplapper. Zusammen nun sind sie der reduzierten Form noch ein großes Stück näher gekommen. Ihre zweite Kollaboration beweist den brillianten Umgang mit hohen und tiefen Klangfrequenzen und Geräuschelementen, die sie dem Kurzwellenempfang, Oszillatoren und mikrofonbestückten Drähten entlocken. Auf dieser CD sind drei entsprechende, langförmig gestrickte Dronekonstruktionen zu hören. Auf spürbar tiefem Grundraunen werden Geschichten geflüstert. Ströme unterschiedlicher Qualitäten, zwischen weissem Rauschen und scharf peitschenden bis hoch tönenden Wellen oszillierend, spielen zusammen, überlagern sich und sind doch fein abgesetzt voneinander. Während man damit beschäftigt ist, verirrte Digitalsplitter abzuwehren, drückt der Stereoeffekt einen, alle Materie unmerklich deformierenden, schleppenden Brei aus dicker Watte in den Raum. Diese Form der Meditation ähnelt dem ersticktem Schreien. Doch kann man in den Minuten, in denen man subtil auf Herz und Nieren geprüft wird, wunderbar im 40seiten Booklet nachblättern, warum Unterhaltung auch Schmerz bedeuten kann. Eine gummiartige Ummantelung, der ein Titel in Brailleschrift eingeprägt wurde, hält Booklet und CD zusammen. _Duncan and Hausswolff are wellknown for their explorations in the fields of minimal sound settings. Both names are standing for an almost minimal musical gesture.Together they have found their way to reduce it yet again. Their second collaboration shows a brilliant handling of deep and high frequencies and noise elements from shortwave, data streams, oscillators and wire tapping microphones. Three pieces of long-form drone constructions are assembled on that CD. Deep background noises, controlled white noise and streams of sharp high tone waves are growing slowly up from the nowhere. A hypnotical continuum of sound forces the listeners full attention, nudging him into airless space through sudden breaks in it. There is also a quiet interesting 40 page booklet with an interview between Duncan and Hausswolff about their histories, ideas, and methodologies, explaining also their accurate purity. It is a very good completion to a music which is composed from the point of psychology research and visual art. All together in a card board embossed with braille and covered with a rubbery coating.” [Peter Schlewinski for Drone Records] ”23five Incorporated proudly presents Our Telluric Conversation -- the second collaborative album from John Duncan and Carl Michael von Hausswolff. This is an album which Duncan describes as having been galvanized by magnetism. In a semantic sleight of hand, Duncan and Hausswolff reveal magnetism through a duality of meanings. One on hand, they speak of the physical phenomenon of charged objects that exert an attraction or repulsion upon other objects; yet on the other, magnetism can be defined the psychological influence wielded by charismatic individuals. Our Telluric Conversation maps out the complexities that emerged through the collaborative pursuits of these venerated sound artists. The tools that the two employed for Our Telluric Conversation are common to their respective catalogues of recordings, with Duncan bringing his shortwave, data streams, and uncanny use of the human voice while Hausswolff employed oscillators, sonar, and wire tapping microphones. The album opens with the mechanical rotation of modulated sonar, providing a hypnotic pulse which slowly submits to an obstinate surge of rumbling noise, that in turn collapses into focused white-noise turbulence and tone-bent SSB transmissions. All of this abruptly detours with a protracted spoken narrative from Hausswolff who whispers a Pynchonesque text about a maggot-infested individual who seeks to remedy his affliction by communing with cobras and geckoes. Afterwards, Duncan and Hausswolff entertain the seduction of the long-form drone constructions; however, their sublime minimalism is so brilliant in its beauty as to be piercingly acute through the purity of honed sinewaves. The final entry from their Conversation is the perfect marriage of the established Duncan and Hausswolff aesthetics, with a spare low-frequency hum deadening the sonic architecture before a static charge of crackled ether supplements the auditory smoldering. Our Telluric Conversation stands as a bold, expressive piece of sound art, confident in its multiplicity of perspectives caught in a constant flux of attraction and repulsion. The recording comes with a 40 page booklet with an interview between Duncan and Hausswolff about their histories, ideas, and methodologies; furthermore, the packaging is completed by a curiously tactile O-card, which has been embossed with braille and covered with a rubbery coating.....” [press release]

€14.00

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DUNCAN, JOHN & PAOLO PARISI

Conservatory (San Sebastiano)

Format: BOOK & CD Year: 2006

Ein weiterer Ausstellungs-/Installationskatalog mit Audio-CD von JOHN DUNCAN, diesmal in Zusammenarbeit mit PAOLO PARISI. Alle Klänge basieren auf “human voice only”... "Full color 64 pp. paperbound catalogue with installation audio CD mounted in separate cover, both inserted in paper box. Catalogue : Texts (English/Italiano) by Daniela Cascella, Pietro Gaglianò, Giovanni Iovane, & Sergio Risaliti. Audio CD : John Duncan : shortwave, processing. Catalogue and CD cover produced by Maschietto Editore. CD produced by Allquestions." [label notes] „The work of John Duncan should need no introduction, as he has long been one of Aquarius' favorite sound artists; however, Paolo Parisi is something of a mystery to us. An Italian sculptor, painter, and installation artist, Parisi commissioned Duncan to compose a sound component for one of Parisi's installation. The themes behind Parisi's installation for plastic tubes and eviscerated cardboard sentry houses are far too convoluted to recount within this review; but in a shocking display of Aquarian restraint, we'll merely mention that the Panopticon, Hitchcock, Deleuze, and Duchamp all get name checked throughout the book's text celebrating Parisi's installation. The CD is all Duncan; and it's well worth the price of admission. Duncan has long been known for his use of shortwave radio sounds as the springboard for his psychologically intense compositions; but slowly, he has been introducing the human voice into his pantheon of sound sources. For Conservatory, voice is the only source he is using, in particular he's amplifying and stretching the gasps, wheezes, and hisses that occur during the act of breathing. Through his manipulation of these sounds, Duncan cultivates a vast network of gaping blasts of air that collectively build into a ghastly, frigid drone emanating from a unscrupulous cryrogenics laboratory. Another epochal release from Mr. Duncan!“ [Aquarius Records]

€35.00

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E.G.OBLIQUE GRAPH (BRYN JONES)

Bryn Jones - Complete Oblique 1980-1983

Format: 7 x LP BOX Year: 2025

Limited to 400 copies, numbered box set containing 7 vinyl LPs, one vinyl 7", 2 booklets, one mini poster, a certification card, a slipmate and a t-shirt ** Vinyl-on-demand presents the definitive excavation of Bryn Jones' formative years with Complete Oblique 1980-1983, a comprehensive 7LP/7CD box set that collects every recording from the pre-Muslimgauze era. This extraordinary archaeological document captures one of experimental music's most prolific figures in the crucial period before his transformation into the underground legend we know today. Between 1980 and 1983, working under the moniker E.g Oblique Graph, Jones was assembling what would become one of experimental music's most singular vocabularies through minimal electronic pieces built from synths and tape manipulations. This collection gathers all three impossible-to-find cassettes originally released on "Kinematograph Tapes" (Extended Play, Piano Room, Inhalt) plus the rare 7" Triptych for Bourbonese Qualk's "Recloose Organization." Complete Oblique reveals material that bears little resemblance to trademark Muslimgauze. Instead of the dub-heavy rhythms and Middle Eastern influences that would define his later work, these recordings present an artist enthusiastically experimenting with sounds and technology, creating music that is crude yet surprisingly varied and very much of its early '80s moment. The opening Fall Into Glass presents a bleepy reverbed melody with classical suggestions, while Merge develops into darker experimental territory with voices underscored by developing swirling tones. What's most startling is the appearance of icy melodies and loads of ghostly space in these recordings, placing them closer to the experimental strategies of Throbbing Gristle and Cabaret Voltaire than future Muslimgauze releases. Much of the material explores the same post-industrial landscape that Zoviet France, Nurse With Wound, Einstürzende Neubauten, and SPK were simultaneously mapping, while drawing from the systematic alienation techniques pioneered by Neu! and La Düsseldorf. The collection encompasses everything from the eerie Choir-Screen with its spooky haunted music from almost voice-sounds which sweep and swirl ethereally, to the monumental 21-minute Piano Room - a complex collage that anticipates the systematic tape manipulation techniques of Jones' future work. You can feel the influence of Chris Watson-period Cabaret Voltaire, the glacial repetitions of Cluster, and the ritual minimalism of Conrad Schnitzler. Most crucially, Complete Oblique documents the emergence of Jones' signature approach to political titling. Tracks like Islamic Koran In Camera Dome and Rapid White Flag In Snapshot Blur appear precisely as Israel's 1982 invasion of Lebanon occurs, marking the paradigm shift that would define his future work. This is where those vaguely poetic, evocative titles referencing political turmoil paired with hypnotic minimalist electronics first emerge - an aesthetic vocabulary that echoes Laibach's concrete interventions while anticipating the systematic approach that would later inspire artists like Vatican Shadow. Despite being his earliest releases, these four recordings are also Jones' most challenging and uncompromising - quite an accomplishment in a discography nearly 400 albums deep. Complete Oblique functions as more than historical curiosity; it serves as a masterclass in how artistic identity crystallizes through apparent failure and successful accident in equal measure. SOUNDOHM

€230.00

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E.G.OBLIQUE GRAPH (BRYN JONES)

Bryn Jones - Complete Oblique 1980-1983

€12.00

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ELEKTROJUDAS / XNDL

split

Format: CD Year: 2019

"Etant Donnes is a French duo named after Marcel Duchamp's last major work. The group consists of brothers Marc and Eric Hurtado, born in Morocco and working mainly as performance artists and musicians. Their sound can be described as a mix of field recordings, found sounds and sometimes whispered, sometimes violent vocals. They describe their sounds like this: "Through Marc and Eric, it is the volume of each word that becomes an object-sculpture, together with the power of their bodies expressing their voices. Each event is a scream - indeed even the glissando - of the strength of the word that sometimes abruptly becomes a rock, a solid surface, not in the least fluvial, as is the narrative of a tale, novel or poetic epic. With both of them, there is no more trace of ancient prosodies, no more trace of the incomprehensible Sainte-Beuve who could claim: "I have to collect a volume of prose". The word, the voice, the volume take shape with each other, unveiling a theatre that theatre usually ignores, which has given it such things as a Samuel Beckett's Fin de Partie." Over the years Etant Donnes have collaborated with people like Lydia Lunch, Michael Gira, Alan Vega and Genesis P-Orridge. La Vue was the first ever recording, dating back to 1979 and originally issued on French Bain Total label (run by Philippe Fichot of Die Form). For this re-issue, the band has found a longer version than was previously available, so this is a unique chance to hear Etant Donnes in their earliest form in a version that has previously been unpublished." [label info]

€15.00

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ETANT DONNES

L'opposition Et Les Cases Conjuguees Sont Reconciliees

Format: CD Year: 2019

"Etant Donnes is a French duo named after Marcel Duchamp's last major work. The group consists of brothers Marc and Eric Hurtado, born in Morocco and working mainly as performance artists and musicians. Their sound can be described as a mix of field recordings, found sounds and sometimes whispered, sometimes violent vocals. They describe their sounds like this: 'Through Marc and Eric, it is the volume of each word that becomes an object-sculpture, together with the power of their bodies expressing their voices. Each event is a scream -- indeed even the glissando -- of the strength of the word that sometimes abruptly becomes a rock, a solid surface, not in the least fluvial, as is the narrative of a tale, novel or poetic epic. With both of them, there is no more trace of ancient prosodies, no more trace of the incomprehensible Sainte-Beuve who could claim: 'I have to collect a volume of prose'. The word, the voice, the volume take shape with each other, unveiling a theatre that theatre usually ignores, which has given it such things as a Samuel Beckett's Fin de Partie.' Over the years Etant Donnes have collaborated with people like Lydia Lunch, Michael Gira, Alan Vega and Genesis P-Orridge. L'Opposition Et Les Cases Conjuguées Sont Réconciliées was the band's second album, originally released in 1981 on French label Bain Total, run by die Form, on cassette only. For this CD re-issue we have added a long bonus track not on the original album." www.klanggalerie.com/gg304

€15.00

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ETANT DONNES

Cinq Portes Soudées

Format: CD Year: 2024

https://www.klanggalerie.com/gg472 https://www.youtube.com/watch?v=QxfX574peL8 Etant Donnes is a French duo named after Marcel Duchamp's last major work. The group consists of brothers Marc and Eric Hurtado, born in Morocco and working mainly as performance artists and musicians. Their sound can be described as a mix of field recordings, found sounds and sometimes whispered, sometimes violent vocals. They describe their sounds like this: "Through Marc and Eric, it is the volume of each word that becomes an object-sculpture, together with the power of their bodies expressing their voices. Each event is a scream - indeed even the glissando - of the strength of the word that sometimes abruptly becomes a rock, a solid surface, not in the least fluvial, as is the narrative of a tale, novel or poetic epic. With both of them, there is no more trace of ancient prosodies, no more trace of the incomprehensible Sainte-Beuve who could claim: "I have to collect a volume of prose". The word, the voice, the volume take shape with each other, unveiling a theatre that theatre usually ignores, which has given it such things as a Samuel Beckett's Fin de Partie." Over the years Etant Donnes have collaborated with people like Lydia Lunch, Michael Gira, Alan Vega and Genesis P-Orridge. Cinq Portes Soudées was the band's fifth album, originally released on Die Form's Bain Total label in 1984 on cassette only. For this CD re-issue we have added a long bonus track not on the original album. Full tracklist: 1. Cinq Portes Soudées Part 1 2. Cinq Portes Soudées Part 2 3. Music from the film Des autres terres souples Part 4 Das fünfte Studioalbum (1984) des französischen Experimental- / Performance-Duos Etant Donnes "Cinq Portes Soudées" erscheint erstmalig als CD im Digipack-Format und mit Bonustrack auf Klanggalerie. 1980 in Grenoble von den beiden Brüdern Eric und Marc Hurtado ins Leben gerufen, legte das nach einem Werk des französisch-amerikanischen Dadaisten und Surrealisten Marcel Duchamp benannte Experimental- / Performance-Duo, das seitdem mit Genregrößen wie Genesis P-Orridge, Alan Vega, Michael Gira, Mark Cunningham und Lydia Lunch zusammenarbeitete, schon ein Jahr später sein Albumdebüt "L‘Opposition Et Les Cases Conjugues Sont Rconcil" vor. "Cinq Portes Soudées", ein zeitlos spannender Mix aus Industrial / Noise, Avantgarde- Klängen und Musique Concrete, war das fünfte Album der Band aus dem Jahr 1984, das ursprünglich auf dem französischen Label Bain Total (unter Leitung von Philippe Fichot von Die Form) nur als Kassette veröffentlicht wurde. Für diese CD-Erstauflage wurde ein langer Bonustrack hinzugefügt, der nicht auf dem Originalalbum enthalten ist ("Music From The Film Des Autres Terres Souples Part 4").

€15.00

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ETIENNE, YVAN

Feu

Format: CD Year: 2014

"On Feu (APOSIOPÈSE apo10) there is a very striking long suite called ‘De La Charge’ which is like having your head inserted in the centre of a lengthy electrical discharge, making your hair stand on end with its wild tendrils of direct current, and threatening to clean out your pores once and for all with its vibrant force." [The sound projector] "Yvan Etienne is active as a sound experimenter interested in issues surrounding site-specific audio installations and as a composer proposing weighty reflections on perception and the physicality of sounds in space. Etienne has not been lacking for collaborative work in recent years, undertaking projects and performance with the likes of Phill Niblock, Yann Gourdon, Richard Glover, Brice Jeannin, Patrice Grente, Julien Ottavi, Robert Poss, Paul Panhuysen, Marie and Verry Joachim Montessuis, to name a few, as well as acting as curator and director of the Ohcetecho aux Presses Du Réel collection. For the three tracks of his first solo album Etienne manipulates various field recordings, a Serge modular synthesizer and a hurdy-gurdy (whether ancient or modern is not known). The result is a sound simultaneously fluffy yet stinging, replete with ambient noise, drones and sparse sequences that feel grainy and menacing, hovering somewhere between organic and inorganic. The impressive scores are very dense and layered, building to a crescendo that is harmonious and addictive, despite the fixity of the narration. Strongly iterative, immersive and resonant, the work reflects a keen sense of spatiality and dynamics. The listening is pleasant but never too conciliatory, favoring moods that are rather spacey and sidereal, infused with vintage synths, tools made popular in the mid-seventies by artists such as Frank Zappa, Jon Hassell, Sonic Boom, Richie Hawtin and Vince Clarke that have now achieved “cult” status among fans of modular analogue gear." [Neural] Composed, recorded and mixed by Yvan Etienne : Serge Modular, Electronics, Field recordings, Hurdy gurdy. Recorded at "2 princesses" & EMS/Stockholm. Produced by Aposiopèse, 2014. Cd. Aposiopèse_10. Artwork by Claire Willemann. Layout + Lettering by Nicolas Bardey. Release page : www.aposiopese.com/pages/feu_y_e.html Artist website : wyy.free.fr https://yvanetienne.bandcamp.com/album/feu https://label-aposiopese.bandcamp.com/album/feu

€12.00

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EVAPORI

Dia-Logos

"Die Hamburger Krautrock-Pioniere mit einem Überraschungspaket aus Avantgarde, Dada und Folk. Die Hamburger Band Faust gehört zu den großen Namen, die der Krautrock der 1970er-Jahre hervorgebracht hat. Als Jean-Hervé Péron und Zappi Diermaier 1971 ihr Debütalbum vorlegten, wollte das in Deutschland niemand hören, im Ausland jedoch verkauften sich "The Faust Tapes" über 100.000-mal. "There is no group more mythical than Faust", schwärmte der englische Musiker und Krautrock-Kenner Julian Cope Jahrzehnte später. Mit "Just Us" setzen Faust ihren musikalischen Weg fort. Während Diermaier seinem Handwerk - Schlagzeug und Perkussion - treu bleibt, integriert Peron allerhand unübliche Klangquellen in sein Bassspiel, verschiedene Streichinstrumente, Klavier und sogar eine Nähmaschine als Metronom. Tracks wie "Nur nous" und "Ich bin ein Pavian" zeigen, dass Faust nichts von ihrer Vorliebe für Avantgarde und Dadaismus verloren haben. Ausflüge ins folkloristische Gefilde ("Cavaqui-ho", "Gammes") runden das wahrhaft faustische Überraschungspaket ab. // j US t - pronounced "Just Us" - is the new album from legendary Hamburg band Faust. Founder members Jean-Herve Peron and Zappi Diermaier have laid down twelve musical foundations, inviting the whole world to use them as a base on which to build their own music. The tracks presented by Peron and Diermaier are clearly, intrinsically typical of Faust in their own right, yet offer enough space for completely different works to develop. Which is exactly what they hope will happen. Whilst Diermaier largely remains true to his habitual handiwork - drums and percussion - Peron, as we might expect, incorporates all manner of unusual sonic sources alongside his bass, various string instruments and piano, even using a sewing machine as a metronome. Tracks like "nur nous" and "ich bin ein pavian" show that Faust have lost none of their predilection for avantgarde Dadaism and improvisation. Peron and Diermaier actually surprise us with folkloristic excursions ("cavaquinho", "gammes"). In short, there is something for everyone to work with here. Peron and Diermaier await the results with bated breath. Faust will follow the same principle on the accompanying tour by inviting local artists to collaborate with them on stage." [label info] www.bureau-b.com "Faust’s intentions have never been easy to discern. Over their 40-plus years of morphing, discontinuous existence, they’ve been so good at dodging expectations and confounding analysis that even when they’re playing it straight, you wonder if something else is going on. So when the press sheet for j US t (pronounced "just us") claims the band is "inviting the whole world to use [the album] as a base on which to build their own music," it’s hard not to get suspicious. Is this a decoy? Do Jean-Hervé Peron and Zappi Diermaier want you to imagine other music so you won’t focus on theirs? Is it simply a way to say "if you don’t like it, make your own"? Perhaps Faust truly are earnest about wanting this album to inspire public collaboration. But the idea does point to something that’s always been intriguing about Faust’s music: it’s often just as much about what they aren’t playing as what they are. Their work is full of implications and innuendos, spaces waiting to be filled in. j US t doesn’t necessarily have more of that than most Faust albums, but implication does seem to be a main theme here. This is music in which every note suggests many more possibilities. j US t begins by proclaiming more than intimating, and in this way it bears an uncanny resemblance to the last Faust effort, 2011’s stellar Something Dirty. That record began with three bold, practically rocking tunes, and so does this one. Based around simple riffs and looping beats, these songs are like free-form post-rock, sturdy in their rhythms but opened-ended in their direction. And despite how well-defined the base of each track is, there’s also tantalizing space in each one. Take "80Hz", whose simple two-note bass figure flows beautifully with the well-timed accents of Diermaier’s percussion and Peron’s sonic grab bag. At times it dips to near-silence, in other places it crests to frantic peaks, but throughout it maintains a tension that compels attention. The balance between action and suggestion tips more toward the latter for the rest of j US t, in ways both fascinating and frustrating. Some songs maintain the attraction of anticipation, hinting at where they might go without ever fully abandoning other options. But others feel more flat than ripe, not so much flirting with tense silence as drifting into empty inertia. One in particular, the seven-minute "Palpitations", is mostly limp. Its intermittent percussion and electronic squiggles sound more random than impulsive, making it the only instance on the album where I find myself wishing I could already hear other bands filling it in. It takes a few tracks to recover from that mid-album drop, but Faust manage to rebound on closer "Ich Sitze Immer Noch", whose slow, rising lope sounds like a sunny homage to Spiderland-era Slint. Like the bulk of j US t, it offers a lot worth hearing and just as much worth daydreaming about—in other words, it achieves the band's stated goals. Maybe Peron and Diermaier really did mean what they said." [Marc Masters / PITCHFORK]

€22.00

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FAVARON, GIANLUCA / ANACLETO VITOLO

Zolfo

"ACRS 1003: CD-R in transparent jewel case Given that this album is part of the Rollator Series, dedicated to noise art, it starts with a surprisingly un-noisy performance of sound artist Gerald Fiebig reciting a poem. In the following tracks, though, meaning is reduced to noise as the recording of the poem is cut into tiny fragments. These are used in two 15-minute improvisations along with a miked-up violin bow and synthesizer drones which Fiebig uses to “play” the sculptures and paintings he found in the artists’s studios where these performances were recorded. The performance triptych documented here was conceived for a project in which artists opened their studios in Pfersee, a city district in the artist’s neighbourhood in Augsburg (Germany), to the public. Performing in three different studios, Fiebig moved from “Word” (the poetry reading) to “Noise” (voice samples plus amplified violin bow and sculptures by Günther Posch) to “Tone” (voice samples plus violin bow samples plus synthesizer and paintings by Gerti Papesch. Using a technique pioneered on the album “Hörbar in Farbe” (http://attenuationcircuit.wix.com/attenuation-circuit#!__hoerbar-in-farbe), the colours and shapes of the abstract paintings were used as a “score” for creating drones with a synthesizer and KAOSS pad. Thus, the album is a gradual development away from language and meaning (signal) through fragmentation (noise) to a new kind of structure, somewhere on the edge between noise and (musical) signal. To give the listener an impression of Gerti Papesch’s paintings that were used for creating the final part, one of them is reproduced on the cover of the album." [label info] www.attenuationcircuit.de

€8.00

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FIEBIG, GERALD

Gasworks

First full lenght solo studio album since 2001 ! With this new recordings Tetsuo confirm himself as one of the greatest Japanese noise artists of all times.. Numbered edition of 500 copies. www.menstrualrecordings.org Its been a while since I last bumped, physically, into Tetsuo Furudate, but also a while since I last heard his music. Whatever I heard sounded good, but I also felt it was not my kind of music. What that is, I don't know. Furudate uses the sampler to create soundtrack like music. He uses percussion samples, guitar samples, orchestral stuff. Maybe I think its the occasional orchestral bombast and noise that put me off a bit. These two new releases re-aquint me with his music. I have no idea why one is released as a CD and one as a CDR. The CD lists five films ('Nostalgia' (Tarkovsky), 'Hamlet (Olivier), 'Singin' In The Rain' (Kelly), 'Orphee' (Cocteau) and 'Persona' (Bergman) from which he used sound samples to create this one hour work. Some of the bombast is indeed present here, but then I think its also kept to a minimum. I fail to see the relevance of mentioning the films as sources, but then it might also be that I never saw those films. By and large drones seem to prevail in this work, wether they are loud or quiet. Its hard to spot any link towards any film, but its a great work. Even the noise bit and the sampled orchestral percussive bits work fine here." [FdW/Vital Weekly]

€13.00

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G*PARK

Gour

€13.00

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GRAILS

Black Tar Prophecies 1, 2, 3

Format: CD Year: 2006

"The collected Black Tar Prophecies ends up being a more idiosyncratic mission statement for future Grails recordings, revealing their fondness for the groundfloor '60s and '70s experimental artists that saw music as a process of discovery as opposed to the pre-conceived, pre-parametered, commodified sport that underground music has become. A parallel is now forming between Grails and old-school experimental bands like Faust who, rejecting their past, started over from the beginning to build new languages in music. Grails' third full length recording, and first full-length since leaving Neurosis' label Neurot, is The Black Tar Prophecies. Seven of these nine tracks from this full length were released in small highly sought-after pressings of 12" vinyl on two European labels. The Black Tar Prophecies is a massive evolutionary step in the established Grails sound and it is shrouded in change and pain. The somewhat clinical studio sound and recording style which has established them a tremendous following has been replaced with a much more free and conceptual recording style. This method liberated the group in the studio and these recordings feel much more open, heavy and for lack of a better term, 'psychedelic.' We're not talking about the cliché co-opted psychedelic fashion, but psychedelia as a reckless embrace of new states of mind and possibilities." [press release]

€13.50

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GREENHAM, LILY

Lingual Music

Format: do-CD Year: 2007

"Britain’s best known sound poet is Bob Cobbing, but it’s hard to come up with a list of other sound poets working in Britain in the 60’s and 70’s. It’s equally difficult to think of any female sound poets working anywhere. Lily Greenham was Danish, but spent her childhood in Vienna. After several relocations across Europe she settled in London in 1972 with her British husband (musician and poet Peter Greenham), where she lived until her death in 2001. Nearly all of her own writings and compositions date from after her arrival in London, but prior to her arrival in London she had been involved in two major European art movements. In the late 50’s she had been an active member of the early Wienner Gruppe, performing in their wild experimental theatre works and reciting the new poetry of young artists like Gerhard Rühm, Konrad Bayer and A.C. Hartmann, but before the Wienner Gruppe had established itself as the important art movement it was to become, she had moved on and changed her working practice. In 1964 she was back in Paris for a second time, but this time she was working as a visual artist specialising in optical art. She was soon directly involved in group shows with the ‘Groupe de Recherche d’Art Visuel’. For the second time she was at the centre of an emerging art movement that was exploring new ground, but predictably enough she moved on. Once in London she began to record her own text based compositions that used a mixture of sound poetry techniques, electronics and multi-tracking. The term ‘lingual music’ that she coined for her compositions refers to her technique of using tape loops of text to create complex and dense musical structures. Her most well known composition in this style is ‘Relativity’, which was made in 1974 in collaboration with the Radiophonic Workshop at the BBC. She also worked with quite a few musicians, both via the early LMC network in London, but also on an international scene. A list of musicians she worked with includes John Tchicai, Wolfgang Dauner, Bob Downes, Barry Guy, Hugh Davies, Max Eastley and Peter Cusack. This 2CD set compiles a wide variety of her own work, including live solo performaces, film soundtrack pieces, as well as many tape pieces. There are also examples of her performing works by Cobbing, Rühm and other sound poets, as well as recordings of her work with Bob Downes Open Music. The recordings date from between 1968 and 1984." [label info] www.stalk.net/paradigm

€16.00

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GRUBBS, DAVID & ELI KESZLER

One and One less

Format: LP Year: 2017

One and One Less is the first collaboration between David Grubbs and Eli Keszler and the first release in the UDPR series. One and One Less consists of a performance and an installation, both of which draw upon a single source text—David Grubbs’s ongoing One Poem, and the LP is split between these two forms: the live performance for reader (Grubbs) and percussionist (Keszler), and a recording of the installation version from the MIT List Visual Arts Center. The original installation (at the MIT List Visual Arts Center from October 10, 2014 to January 4, 2015 as part of the show Open Tunings) used recorded excerpts from One Poem to trigger a range of mechanical strikes within seven custom-made, sculptural sound boxes, each of which contained an elaborate mechanism of motors and speakers built by Keszler that acoustically filtered the voice, creating a constantly changing composition—one equally verbal and percussive. Subsequent to the live performance, the installation at MIT was intended as an aural afterimage, in which the clean visual disposition of the gallery space was contradicted by the intensity of the acoustically produced sound field. This LP is printed in a limited edition of 300 copies and includes an insert with the text of David Grubb's poem-in-progress. UDPR is a vinyl record series for the sound of poetry, curated by Michael Barron for Ugly Duckling Presse. David Grubbs is Professor of Music at Brooklyn College and the Graduate Center, CUNY. At Brooklyn College he also teaches in the MFA programs in Performance and Interactive Media Arts (PIMA) and Creative Writing. He is the author of Records Ruin the Landscape: John Cage, The Sixties, and Sound Recording (Duke University Press). Grubbs has released twelve solo albums and appeared on more than 150 commercially-released recordings. He is known for his cross-disciplinary collaborations with poet Susan Howe, visual artists Anthony McCall, Angela Bulloch, and Stephen Prina, and choreographer Jonah Bokaer. His work has been presented at the Guggenheim, MoMA, the Tate Modern, and the Centre Pompidou. Grubbs was a member of the groups Gastr del Sol, Bastro, and Squirrel Bait, and he has performed with the Red Krayola, Will Oldham, Tony Conrad, Pauline Oliveros, and Loren Connors, among many others. He is a grant recipient from the Foundation for Contemporary Arts; a contributing editor in music for BOMB Magazine; director of the Blue Chopsticks record label. Eli Keszler Photo credit: Christelle Perrin Eli Keszler is a New York-based artist, composer, and percussionist who situates his practice within the intersections of architecture, performance, installation, notation, and composition. Keszler’s installations and visual work have appeared at the Victoria & Albert Museum, MIT List Visual Arts Center, The Kitchen, South London Gallery, Barbican, Luma-Foundation, Tectonics Festival Reykjavik, and Centraal Museum in Utrecht among many others. Keszler has toured extensively throughout Europe, Asia and the United States, performing solo and in collaboration with artists such as Christian Wolff, Phill Niblock, Tony Conrad, Oren Ambarchi, Joe McPhee, Jandek, Roscoe Mitchell, Anthony Coleman, T Model Ford, and Ilan Volkov with the Icelandic Symphony Orchestra. His writing and work has appeared in BOMB Magazine, The New York Times, Wire Magazine, Frieze, and Modern Painters. He has received commissions and awards from Gaudeamus, National Public Radio, and the Foundation For Contemporary Art. Keszler is a graduate of the New England Conservatory of Music. https://www.uglyducklingpresse.org/catalog/browse/item/?pubID=546

€28.00

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GURUN GURUN

Uzu Oto

"Hiroshi Hasegawa's musical roots go back to the late 80s, where he started as a pioneer under the Japanese Experimental Electronic artists. Hasegawa is the man behind C.C.C.C., ASTRO, MORTAL VISION, TRANCE and other projects. He released also several works together with Akifumi Nakajima from AUBE. Ascension No.999 is his first album under his real name (besides a split LP from 1988) and it's also his very first ultra-noise work! The sounds vary from experimental cut-up noise, over droning sound-walls, to screaming high frequency manipulations. Some passages even remind to early Säköh/Panasonic vinyls. Cover-design by Yoshihiro Nakano." [label info] www.steinklang-records.at

€8.00

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HATED BRUIT KOLLEKTIV

Aktion One

Format: CD-R Year: 2008

Noisiger Zusammenschluss dreier polnischer Projekte auf neuem Label, nach einem ironischen Jodel-Folk Song Einstieg breitet sich ein gut arrangierter Industrialnoise One-Tracker aus, eher im bassig / tiefnoisigen Bereich, mit sehr schönen atmosphärischen, fast dark ambienten Abschnitten.. Kommt in grossformatigem, dicken Postercover. "HBK is an ephemeric project held among musicians behind Genetic Transmission, Moan and Nojsens. Three minds, three individualities, tree artists sharing one inspired vision. These are people we know for years so it became somehow natural to invite their bastard child to our NN therapy group finally, starting the "Harsh Kontakt" series of relases from now on. The sound sculpture presented hereby has been captured at Bez Kontroli Fest 2007 as probably HBK's best gig to date. Expect the unexpected, as they have gone the whole hog, without no mercy to the audience or themselves. OK, it's all there: refreshing traditional industrial, warming harsh noise, stoned bruitist plunderphonics, and last but not least—good taste and the fucking clue, VSOP. The packaging consist of a huge, A2-sized heavy stock poster folded to form A5 sleeve housed in a solid plastic wrapper. Limited to 250 hand numbered copies." [label info] www.newnihilism.com

€10.00

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HAUSCHKA & HILDUR GUDNADOTTIR

Pan Tone

Format: LP Year: 2022

https://hauschkamusic.bandcamp.com/album/pan-tone 2022 Repress, white Vinyl, full tone cover artwork, incl. printed inner sleeve, edition of 500 copies Volker Bertelmann and Hildur Guðnadóttir hardly need an introduction - their distinct styles have graced the speakers of pretty much anyone enamored with experimental music in the last decade, and between them the two have chalked up an enviable canon of successes. Bertelmann, under the Hauschka moniker has explored the extremities of prepared piano improvisation, and Guðnadóttir has taken cinematic, explorative cello music into a new era of depth and passion, so to hear them both together is a rare and unexpected treat. Rare is putting it lightly even - „Pan Tone“ is a recording of a single concert which the duo performed on the 26th of February 2010 as part of Arctic Circle - Bubbly Blue and Green festival at Kings Place in London, and documents an event that would truly never be repeated. Sure, they could attempt to re-create the event, but the spontaneity and glorious serendipity in this particular recording is a pleasure to behold. Bertelmann and Guðnadóttir decided to create a set of compositions which based on the idea of the ocean, and took a book of Pantones to extract exact references to the specific colors of the sea. These watery tones form the backbone of the performance and inform the direction of the collaboration, guiding us through rich blues, glassy greens and frothy whites. In listening to the music it seems incredibly appropriate that the artists should choose blue as the middle ground in their work; the ineffable lightness that Bertelmann brings to the table is a stark contrast to Guðnadóttir´s sinking darkness, and as the two styles collide we witness a plethora of tones, shades and hues. It sounds as if the two artists have been playing together for decades, and their sound is so perfectly matched you might wonder why it´s taken them this long to collaborate. All that´s left for us to do is to soak in the tidal beauty of this very exclusive body of music, to listen to it sing, bubble and crash through its duration before settling in total silence. When the record reaches its conclusion there is an unsettling calm, a sense that you have witnessed something very special indeed, and that is a feeling to prize amongst all else.

€25.00

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HAYNES, JIM

Flammable Materials from Foreign Lands

Format: LP Year: 2016

The new LP from Jim Haynes is a haunted and provocative endeavor, rust-covered and mysterious. It is the result of an immersive listening/recording process through which Haynes' singular techniques intersected with an unfamiliar, disquieting landscape.... "The album was mostly composed, recorded, and sketched during an Estonian residency at MoKS for a program that was hosted by Simon Whetham and John Grzinich called Active Crossover. The goal of that program was to bring together various artists whose work pertained directly or indirectly to environmental recordings. When John asked me about what kinds of spaces I was interested in seeking out before I arrived, I mentioned that I would like to investigate sites that had a considerable amount of electro-magnetic disruption which I could capture on radio along with sites of psychic distress. The Estonian landscape is pocked with abandoned buildings of considerable size and decay. Many of the excursions for Active Crossover engaged the large crumbling Soviet-era structures. Given that the electricity was off in many of these sites, I had to rely on shortwave to capture any electro-magnetic disruptions instead of any fluctuations from shitty wiring or weird Soviet power transformers... and the radio reception from that particular time and that particular place (i.e. southeastern Estonia) was eerie and unsettled. The crackle, drone, and noise is unlike that which is heard in the United States, looming with a (possibly perceived) paranoia of the Russian state just a few kilometers away. That said, Estonia had experienced an encroachment from Russia as the Russian military kidnapped/extradited an Estonian intelligence officer who was on Estonian soil at the time not too far from where I was staying. Given the contemporary military actions of Russia reclaiming Crimea from Ukraine, this incident put many an Estonian on edge. The A-side to Flammable Materials reflects this aestheticized paranoia through bursts of static, pulsed noise, and atonal sinews of sustained frequency. The B-side is wholly more introspective, cutting up an Estonian radio broadcast into phonemes, disjointed phrases, and cryptic speech. What few words that can be recognized from the Estonian pertain to the forces of globalization. From the context of someone who understands very little of the language, these snippets of a female voice clip like a surrealist collage or a Dada poem. Compositionally, I was thinking very much of Robert Ashley's Purposeful Lady Slow Afternoon and the Nurse With Wound recontextualization of such sounds." - Jim Haynes Based in California, Jim Haynes has exhibited internationally at the San Francisco Museum Of Modern Art, the Lausanne Underground Film Festival, the Berkeley Art Museum, WestSpace (Melbourne, Australia), and Diapason (New York). Recorded media has been published through Editions Mego, Ghostly International, Drone Records, Hooker Vision, Intransitive, Semperflorens, Elevator Bath, and The Helen Scarsdale Agency. He has also been awarded residencies at the Djerassi Resident Artists Program (California), Recombinant Media Labs (California), Jack Straw Productions (Seattle), and MoKS (Estonia). He has participated in a number of fruitful collaborations with Loren Chasse, Keith Evans, Steven Stapleton, and M.S. Waldron. Until 2015, Haynes was the Vice President and Curatorial Director for 23five Incorporated, a nonprofit organization dedicated to the development and increased awareness of sound arts within the public arena. He is also the lone occupant at The Helen Scarsdale Agency. Flammable Materials from Foreign Lands has been issued as a clear vinyl LP with gorgeous matte-finish jackets featuring artwork by Jim Haynes. Mastered by James Plotkin, it has been released in a limited edition of 300 copies. Every copy purchased directly from Elevator Bath will include a download code for high quality files of the entire audio content of this LP. Total running time: 38 minutes https://elevatorbath.bandcamp.com/album/flammable-materials-from-foreign-lands "For his two most recent (near simultaneous) releases, Jim Haynes has scaled back his audial representation of decay to something a bit colder and more intentionally off-putting. Both albums are largely based on field recordings taken from a residency in Estonia, and capturing the detritus of Soviet era electronics (and some still active) via shortwave and then processing the results. The final products may be somewhat sparser than his other works, but no less fascinating, and with an additional menacing edge. On the first side of the Flammable Materials record, Haynes presents three pieces that are perhaps the most inline with his previous works. Treated static and radio interference is unsurprisingly a recurring theme of the record, but are especially prevalent on the opening piece "Of Blast and Bleach". Here Haynes mixes it with some sort of idling motor sound that is fittingly inconsistent. Elements of the static and noise are shaped into some sort of rhythmic structure that contrasts the abstract remainder of the composition very effectively. Haynes takes on a more noise-centric approach on "Nyet". First a lava-like wall of harshness with the occasional tone slipping through, it is quickly broken back down and built back up, with an emphasis on shifting filters obscuring the low register part of the spectrum. For "E. Kohver" he takes on the opposite approach to the structure and arrangement. This piece is mostly a heavy, imposing drone with metallic tinged machinery noises that never goes full on dissonant, but stays sinister. At times the shortwave static is molded into that crackling texture-like sound that Haynes does so well, but the whole piece is very menacing and dynamic. The other side of the album is dedicated to a single piece, "Electric Speech: Nadiya". A bit over 20 minutes, the composition is based solely on the radio broadcast of a woman speaking. Of course Haynes also makes use of the static and noise inherent to this type of recording, but in general he embraces minimalism more. The source material voice appears frequently, cut into fragments and phonemes that are anything but identifiable words, regardless of the language being spoken. As a whole it is a different style he is working in, with that singular focus and an impressive use of silence to contrast the more commanding moments. [....] Both of Jim Haynes' newest works are exceptional additions to his already impressive body of work. The Throttle and Calibration tape is probably the less adventurous of the two, but is still a work deeply embedded in his style without being any sort of retread or replication of material he has already done. Flammable Materials from Foreign Lands benefits from its unique conceptual direction and focus, but really neither one is better than the other, and both are just excellent works from someone who has done an admirable job developing a career of sound art that always stands strong as utterly unique and fascinating." [Creaig Dunton/Brainwashed] "For well over a decade now, the Californian noise/drone (de)composer Jim Haynes has pursued a single-minded research into the sound of decay. Shortwave radio transmissions and convulsive motors are a few of the sources that are modulated and amplified into his psychologically tense, hauntological recordings. His 2016 album Flammable Materials From Foreign Lands rises from the eruptive strategies found in John Duncan's extrapolations of empty radio signals with parallels to be found in the mutated electro-acoustic dynamics found in contemporaries like Kevin Drumm and G*Park. One of the foreign lands in question to this flammable album is Estonia where he rummaged through abandoned Soviet-era ruins and collected disquieting shortwave signals. The other land is California with its own darkened psyche they roils beneath the mythologies of eternal sunshine. It's not so much a dialect as an accretion of static, grit and phased electro-magnetic disturbances – amplifying the neurosis and anxiety from a slow poisoning through psychological and/or environmental means. The first side of the album is pocked with convulsive crescendos which aggressively shove through Haynes' accumulated materials. The tracks rise to a boiling point, snap at the excessive pressure and collapse into a hypnotic fog. The second side is a single-sided collage of deconstructed/disembodied voice. Haynes clips and chops the mellifluous voice of an Estonian radio host (perhaps Tallinn's answer to Terri Gross?) into elemental gasps and utterances that rhythmically tick against an unsettled minimalism built from long, thin-wire recordings. Here, the strange and unsettled composition of voice and drone hauntingly resembles Alan Lamb's telegraph recordings poured into the empty spaces of Robert Ashley's Automatic Writing." [Stranded]

€22.50

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HAYNES, JIM

Inauspicious

Format: LP Year: 2023

In a recent interview, the California artist Jim Haynes was asked to name his top five noise albums. In quick fashion, he listed off Kill The King, Send, Desnos, Persona, and Carcinosi. Since then, he's equivocated on which albums to choose, but the artists behind such works remain as the adjacent signposts and landmarks to his own constructions of industrial noise. How those records connect to the output from Haynes is found in their unique combination of smoldering dynamism and psychological inquest. For over twenty five years, Haynes has been an autodidactic clinician into the processes of corrosion, decay, and rust, turning his attention away from visual practices and more to the metaphoric crucible of noise and sound. By now, it seems like a cliche that the pandemic changed everything; but since that viral encroachment, there is a noticeable shift in Haynes' work post 2020. It's more aggressive and yet more controlled: a rarification and telescoping of the research into decay for more potent noise and more potent metaphor. The tools for Haynes' work remain limited: motors, electronics, shortwave radio, found objects, all applied with considerable pressure. Compositionally, Inauspicious is a very rough moire pattern from overlapping elliptical structures that can negate and obfuscate just as easily as they can compound and aggregate. The album surges and collapses upon the two twenty minute chunks of controlled noise that follow an internal logic that snakes from brooding power drones, spectral radio transmission, and an aktionist demolition cast upon metal, glass, and unfortunate wooden objects. Rupture and release. Purge and pulse.

€22.50

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HECKER, FLORIAN

Resynthese FAVN

"Last studio-album and musical testament of T.H. Thiel ( ORDO CATHARSIS TEMPLI ), who died in April 2003, only few days after putting the final touches to this impressive album. Like only few ambient artists, HOEDH succeed to awake a feeling of longing and melancholy within every listener and at the same time HOEDH create a feeling of inner silence: a spiritual drowning into your soul. ( HOEDH hymnus 1996) UNIVERSUM was released as official - In Memoriam Album - in collaboration with Ordo Catharsis Templi, who s founder T.H.Thiel was." [label info] "HOEDh was thee projekt ov thee German artist Thorn Hoedh who passed away on thee night ov May 15th-16th 2003.. he was involved in thee projekts: Delysid , DLS, Helix 12, Moksha, and Ordo Catharis Templi!! thee two albums shared here are some ov thee most beauteous dark ambient releases which one could hope to encounter!! Hymnvs was released in 1993 on thee Atmosphere sublabel ov Dark Vinyl which was dedicated to generally more rhythmic ambient music.. and Universum was released post-humously on thee Dark Vinyl Records label on thee first ov April 2004.. again here are presented more releases from thee astounding 23 Temple!!" [vitaignescorpuslignum.blogspot.com]

€8.00

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HOGAN, ANNI

Kickabye

Format: do-CD Year: 2009

"Von ihren frühen Tagen als Batcave DJane bis zu ihren Kollaborationen mit MARC ALMOND (MARC AND THE MAMBA, WILLING SINNERS, LA MAGIA) ist ANNI HOGAN eins der wahren Genies der Alternative Szene. Als Komponistin, Songwriterin, Produzentin, DJane und Promoterin half sie dabei, dem Sound der 80s eine Form zu verleihen. Ihre musikalische Karriere erstreckt sich über drei Jahrzehnte, in denen sich die großen Namen nur so am Wegesrand sammeln. Als DJane spielte sie mit SOFT CELL, THE THE, EINSTÜRZENDE NEUBAUTEN, TEST DEPT, JAPAN, NICK CAVE AND THE BAD SEEDS, ADRIAN SHERWOOD; als Pianistin und Keyboarderin hat sie live und im Studio mit SOFT CELL, SIMON FISHER TURNER, NICK CAVE, PAUL WELLER, BARRY ADAMSON, LYDIA LUNCH, ZEKE MANYIKA, SEX GANG CHILDREN, YELLO, CAGED BABY und natürlich MARC ALMOND gearbeitet. Ihr Solodebüt ,Kickabye" erscheint hier in ausgeweiteter Version erstmals als CD und wartet mit einigen Alternative Größen auf: NICK CAVE auf 'Vixo' (exklusiv!)), MARC ALMOND auf 'Burning Boats', FOETUS, BUDGIE (SIOUXSIE AND THE BANSHEES) und GINI BALL. Auf der CD trifft die eigentliche ,Kickabye" EP (produziert von Jim ,FOETUS" Thirwell) auf zehn weitere Songs aus der gleichen Zeit. Mit neuen und exklusiven Versionen von MARC ALMOND Tracks. www.myspace.com/annihogan" [label info/Cargo] "From her early days as a legendary Batcave DJ, through her work wth Marc Almond (Marc And The Mambas, Willing Sinners, La Magia), Anni Hogan is one of the true geniuses of the alternative scene. A composer, songwriter, arranger, producer, promoter and DJ, she helped to shape the sound of the 80s. In a musical career spanning three decades she has worked with many successful artists in a variety of capacities. As a DJ she performed with artists including: Soft Cell, The The, Einstürzende Neubauten, Test Dept, Japan, Nick Cave and the Bad Seeds, Adrian Sherwood. On Piano and Keyboards she has performed live and in studios all over the world with artists including: Soft Cell, Simon Fisher Turner, Nick Cave, Paul Weller, Barry Adamson, Lydia Lunch, Zeke Manyika, Sex Gang Children, Yello, Caged Baby and of course Marc Almond. Cold Spring is proud to present her debut release expanded and brought to the public for the first time on CD. "Kickabye" features some of the leading lights of the alternative scene: NICK CAVE on 'Vixo' (exclusive to this release), MARC ALMOND on 'Burning Boats', FOETUS, BUDGIE (Siouxsie And The Banshees) and GINI BALL amongst others. The first CD is the original "Kickabye" EP (produced by Jim "Foetus" Thirwell), plus 10 extra tracks from the same period. The second CD is also tracks from the same period. 'Blue Nabou' features YELLO. Production by BARRY ADAMSON on 'Hopes And Fears', 'Wasting Time', 'Senseless', 'A Place To Belong', 'Everything We Do', 'Self', 'The Story So Far' and 'Each Day'. This digitally remastered work contains new and exclusive versions of 'The Frost Comes Tomorrow' (originally released on "The Stars We Are" by Marc Almond), 'The Hustler' (originally released on "Mother Fist" by Marc Almond), 'Blood Tide' (originally released on "Violent Silence" by Marc Almond), 'Margaret' (originally released on "Untitled" by Marc And The Mambas)." [label info] www.coldspring.co.uk

€16.50

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HOLTKAMP, KOEN

Field Rituals

Format: CD Year: 2008

" 'Field Rituals' is the first solo album to come from Koen Holtkamp, an artist probably better known as one half of ambient duo Mountains. Based in Brooklyn, Koen created the album slowly and as a love letter of sorts, taking in delicate field recordings and using them like faded photos representing his distinct memories of the people and places he chanced upon. Some may have heard the incredible ‚Make Haste’ which appeared on limited edition vinyl earlier in the year, but this was only a taste of what Koen has to offer on ’Field Rituals’. Taking cues from the classic ambience of Brian Eno and fusing it with the instrumental subtlety of Sweden’s Tape, Koen has come up with an aural book on his subject matter. Each track feels entwined in the next and feels like a part of something much bigger. Sure we’ve heard field recordings, synthesizers and guitars before but rarely have these instruments been injected with such a lightness of touch and with such a delicate open ear. Each listen reveals more, like peeling back layers of onion skin – take the album’s epic centrepiece ’Sky Flowers’ for example, which blends slow-moving synthesizers with good-natured environmental recordings and shimmering strings. The result is explosive somehow, with the grandeur more usually exploited by Arvo Part being framed with a distant electronic ambience. The slow-burning pace is probably the single most important facet and reveals an artist at ease with his musical choices, something unusual in a genre brimming with young hopefuls. A good comparison might be Stars of the Lid, but Koen’s music is more organic and more humble somewhat than the ex-Texan duo. In the end we are just proud that Koen has allowed us a look into this most personal of works." [label info] "Here be the first full length album from Mountains-man Koen Holtkamp. You may recall we got in (and sold out) his contribution to the A Room Forever series of LPs commissioning artists to match a field recording on one side with a sympathetic composition on the other. Where his offering there was a dark-hued, ominous crescendo of crackled drone sourced from acoustic guitar, Field Rituals has its head in the clouds. Holtkamp begins the album with a lovely round of brightly rendered acoustic guitar finger picking with some tricked out ring modulation effects giving each of the tones a sun-flecked glow and funhouse mirror curvature. Sustained drones from loops of melodica and harmonica mutate into an ersatz harmonium with the soaring overtones and sweeping fluctuations of tonalities gently crashing into each other. The loops every once in a while coalesce into a rhythmic underbelly, but mostly they settle as a effervescent bubbling of overlapping delay patterns and softly shimmered ambience. On top of all of this, Holtkamp dapples everything with his shimmered guitar and occasional crackles of tactile objects (he mentions water, seeds, ice, and paper) as well as field recordings of giggly children romping in a playground. The effect is somewhere between the immaculate pieces from Keith Fullerton Whitman's recordings and the bright-eyed naturalist wonder of the Jewelled Antler camp. Really gorgeous stuff from the ever impressive Type label." [Aquarius Records review] www.typerecords.com

€16.00

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HOLZKOPF & EMERGE

Craft

Format: CD Year: 2014

"This is not a split release, but an album of two co-composed tracks by two apparently very diverse artists. Canadian artist Holzkopf is mainly known for his leftfield take on drum’n’bass and improvised vocals, while EMERGE is often labelled a “drone ambient” artist. Here, they combine their respective mastery of synths and the processing of sampled ambient sounds to create two textural, yet highly suspenseful half-hour pieces. The track titles “masonry” and “metallurgy” give the listener some clues as two the sources of the sounds used. Y-Ton-G, a long-standing presence in the German underground experimental music scene and close collaborator of Asmus Tietchens, is credited with supplying some of the source material for EMERGE’s samples, and given Y-Ton-G’s predilection for the sounds of metal, these probably gave shape to the samples featured on “metallurgy.” This is not to say that any of this music sounds at all anecdotal. The great achievement of the album is in the way it manages to combine seemingly concrete, referential sounds with abstract, brooding frequencies. The mixture of found and sythesised sounds, some of them by Holzkopf and others supplied by mutual label mate and analogue-synth noisician ORiFiCE, creates a kind of cinema for the ear which conjures emotionally compelling atmospheres while never forcing any obvious visual associations on the listener." [label info] www.attenuationcircuit.de "Also on the next CD Emerge is present, but then in collaboration with Canada's Holzkopf, who sometimes works inside the area of drum 'n bass, but also takes on as easily noise and ambient. Also on the plate here are sound samples by Y-Ton-G treated by Emerge. Two long pieces here, each around thirty minutes, and maybe the titles give away something, 'Masonry' and 'Metallurgy', which one might conclude this deals with some sort of metallic ringing and singing. There is a loose structure in order here, in which these sounds seem to be improvised and everything arrives in a playful mood/mode. I am not sure how this was made; by mail or Internet I would assume, but it sounds like they have been together and improvised these two pieces on the spot. Feeding it through a variety of boxes and laptops, with (obviously) moments that could be weeded out by more rigorous editing, but it's a free flow of sounds that has its appeal. It's perhaps the kind of thing that you would find on a cassette release, but why not a CD? Why not! Indeed!" [FdW/Vital Weekly]

€10.00

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HONEYMOON KILLERS (LES TUEURS DE LA LUNE DE MIEL)

Les Tueurs de la Lune de Miel

Format: CD Year: 2003

"Fronted by the late Yvon Vromman, The Honeymoon Killers were a provocative band with a strong pop sensibility. This album made them the darlings of the music press all around Europe (including in the UK, a rare feat for a French-singing act), and their delirious live shows gained them a strong following. Les Tueurs also included vocalist Véronique Vincent, Gerald Fenerberg, Jeanf Jones Jacob and Aksak Maboul/Crammed originators Marc Hollander & Vincent Kenis. The album originally came out in 1982. It was first re-issued on CD in 2003, augmented with 4 previously-unreleased live tracks from 1981 (with Aksak Maboul), a track recorded for a NME tape, and the 3 tracks from the "Subtitled Remix" EP (it had been strongly suggested to the band that they could broaden their audience if they recorded English versions of their songs. The Killers chose instead to “subtitle” them, or rather to add new, English-speaking characters to the songs: The Copter-hater, who lives a parallel story to that of the heroin of “Histoire à Suivre”, Mummy and Jason who comment the actions of the quarelling couple in “J4”, and Dr Stone, Max and Colonel LaFièvre, who turn the instrumental “Ariane” into a mini-space opera entitled “A Deep Space Romance”)." [label info] www.crammed.be Les Tueurs by Gilles Verlant: "The main quality and the main problem of the Honeymoon Killers is that they saw everything in duplicate. It's a recurrent drama with Belgians in general and artists in particular: they are often seriously schizophrenic. Let's start with their name. The Honeymoon Killers, like Leonard Kastle's 1970 film about a couple of serial killers ? Or Les Tueurs de la Lune de Miel, with this amusing contrast between menacing (Tueurs) and comforting words (Miel) ? They can't decide, so they'll put both names on the cover and the public will have to sort it out for themselves. And then who's the leader, or at any rate, who gets photographed for the press ? Is it Yvon Vromman, who is unshaven and ugly with his big round nose, but makes you die laughing (actually he's the one who'll die, far too early), a real bundle of nerves, the kind of psychopath which blows up in your face as soon as something goes wrong ? Or is it the evanescent Véronique Vincent, an ex-model and journalist ? In 1982 the New Musical Express doesn't think twice: the girl will make the cover. You can imagine Yvon's face: after all, he's the one who started this band! In the end, this internal competition will undermine them and make them explode in mid-flight. But there was even more schizophreny in the Killers: they were clearly going in several musical directions at the same time. Raw energy stemming from punk and new wave on the one hand, and serious musical skills of some band members on the other. What united them is the desire to have laughs, to experiment, to subvert influences without giving a damn about what's in and what's out (and maybe that's why their songs haven't aged, which is a thing you can't say about that many albums recorded back in 1981 !). Hey guys, let's make provocative versions of songs by Sheila and France Gall (two French pop stars from the '60s) ! They were only slightly more respectful with Charles Trenet's classic "Route Nationale 7", which went on to become a radio hit in France, while the press went apeshit. In reality, the Honeymoon Killers were a band from the 21st century which had unfortunately fallen into a spatio-temporal flaw. Today, all the things they were fighting for with their little fists tightly clenched (and their little tongues firmly screwed in their cheeks) have become totally obvious: being quirky and imaginative, not taking oneself too seriously, bravely mixing electro-and-pop-and-world-and-jazz etc. The Tueurs must absolutely reform. Yvon, don't act stupid, come back, all is forgiven ! [GV writes books and television programs. He is the author of the definitive Serge Gainsbourg biography.] www.crammed.be

€13.00

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HUERTA, DANIELA

Soplo

Format: 10inch Year: 2024

"Soplo" is the debut solo album from Berlin-based Mexican multimedia artist, sound designer, and DJ, Daniela Huerta -- and a true thing of beauty it is. A hallucinatory array of vaporous atmospheres, illusory rhythms, vanishing voices, and evocative environmental recordings, "Soplo" (Spanish for 'breath') ruminates on the enduring resonance of storytelling. Huerta places an interest in mythology at the center of her practice, using it as a springboard to explore the origins of consciousness, archetypes, rituals, and collective memory. This approach to sound made Huerta an ideal collaborator for acclaimed Colombian artist and filmmaker Iván Argote, who invited her to score two of his poetic, politically charged short films. This is how "Soplo" began, with Huerta re-working and weaving together two soundtracks, creating a fully cohesive statement emphasizing her own idiosyncratic methods. Her subtle sonic treatments and arrangements sketch an impressionistic narrative that highlights the synergy between music and the natural world. As a collection of recordings with disparate origins, “Soplo” is remarkably cogent -- engagingly varied but with a sustained air of mystery (and discovery) throughout. The ethereality of tracks like 'Gloria' and 'Coatl' gives way to the refined musique concrète of 'Seqvana' and especially 'Tres'. Meanwhile, 'Fondo' and 'Levitar' offer surprising juxtapositions while 'Hálito' rolls forward with wheezing instrumental flutters before being drowned by Huerta's disarmingly opaque electronic textures. "Soplo" is a tremendously satisfying sojourn; an album that rewards patient, deep listening and emphasizes Huerta's tight grasp of audial imagery. It is an emotionally expressive sonic tapestry that unfolds at its own pace, revealing itself hypnotically and enigmatically. With this immersive debut, Huerta entreats the perceptive listener to take a deep breath and plunge in. There is treasure to be found in the river's depths. - - - - Already well-established as a DJ, working under the Baby Vulture moniker, Daniela Huerta has performed at a wide variety of venues and festivals, including Berghain, Silent Green, Roter Salon, and Berlin's prestigious CTM, and has collaborated with artists such as Ale Hop, Lucrecia Dalt, Concepción Huerta, and Ash Fure. She currently lives in Berlin. Black vinyl 10" in full-color jacket with extensive spot gloss printing and gorgeous artwork/photography by Cornelia Pierce. Mastered for vinyl by Stephan Mathieu and cut by Andreas Lubich (Loop-o). https://danielahuerta.bandcamp.com/album/soplo

€18.00

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HUNT, JERRY

Haramand Plane: Three Translation Links

Format: CD Year: 2013

"Pogus is very honored to be able to reissue this recording of works by the late Jerry Hunt (1943-1993), originally released on ¿What Next? Having long been fascinated by Hunt’s work, it is great to be able to have these last works of his available on CD once again. To quote “Blue” Gene Tyranny: “In the 1970s electronic music practitioners constituted a rare and marginal population on the frontiers of interactive media and performance. Audio, with its modest bandwidth requirements, led video by at least a decade in every major discovery. Early artists were able to experiment, construct, interconnect and perform with electronic systems that were consciously digital, real-time and interactive long before those buzzwords were mentioned in other artistic contexts. Among the pioneers, Jerry Hunt was the rarest, most marginal explorer of a remote terrain. As his musical activities moved from the electronic sound pieces of the 1970s into the legendary performances of the 1980s, Hunt brought along with him a curiously rich and viable ecosystem of pieces, structuring principles, performing gestures, and theatrical personae.” “The sounds on this recording, created in 1993, are completely different from the ones that constitute normal or academic electronic music. The three sections of this electronic work constitute the composer's last pieces. He regarded the recorded version of this work as a "document for rehearing." The overall sound is the densest and most intricate in this one of a kind artist's body of work. The three sections consist of "interlocking audio and video optical discs which provide the fundamental image, sound and program control strings ... action code pattern structures ... for a group of transactional mimetic gesture exercises ... inflection calls evoking ... melody streams" with simultaneous tracks of acoustic percussion. The sonic result is an entrancing, overwhelming, evocative shamanic performance of brilliantly designed electronic timbres.” [label info] www.pogus.com "The Pogus label has a fine nose for forgotten and underestimated recordings from the past in the field of electronic music. This results in well-documented releases, like this one: ‘Haramand Plane’ by Jerry Hunt, originally released by ?What Next?(1994). Electronic music attracted pioneers of all kinds, often loners who built their own universes with more or less success. Jerry Hunt was one of them, an eccentric composer from Texas who ended his life in 1993, aged 50. He studied piano and composition at the University of North Texas and became an accomplished pianist, playing compositions of American and European composers. He gained some fame with his live electronic events combined with ritualistic performances. In order to make his work available he founded his own Irida label. The titles on this Pogus release were the last works he realized before he died. Titles of the three works on this release are: ‘Chimanzzi: Link (1)’, ‘Chimanzzi: Link (2)’ and ‘Chimanzzi: Drape: Link’. It is electronic music of a very own kind. Fine textures with lots of details and layered sounds. It makes the impression of very organic sound constructions, that are far from dry, academic experiments. I admit, I associate abstract electronic music more with the intellect than with other human capacities. But listening to these works I became more and more impressed by the lively and organic feel that is in this music. This music flows like water in a river or blood through our veins. Very evocative and sensitive music, sounding quasi-nonchalant. Resulting in something that is more than just music. Must have been a visionary artist!" [DM/Vital Weekly]

€15.00

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ICHIYANAGI, TOSHI

Drip Music

Format: BOOK + CD Year: 2008

This is volume 9 in Omega Point\'s Obscure Tape Music of Japan series. Yoji Kuri is one of the foremost and highly-regarded experimental animation artists in Japan, active since the early 60s. His name is well-known not only for his many works of \"black humor\" throughout the 60s and 70s, but also for the soundtracks to his materials, composed by avant-garde composers. Originally titled Synthesized Piano Space, it has been renamed Drip Music for this release. This new edition is combined with Toshi Ichiyanagis unpublished tape work from 1974 (lost at Kuri\'s studio for the past 30 years) with 53 pieces of Kuri\'s newly-inked, fantastic manga work inspired by the sound. Contains newly-written liner notes in Japanese and English, housed in a specially-designed cardboard paper sleeve in a limited edition of 1,000 copies. omega-point.shop-pro.jp/?pid=172740545

€24.50

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IF, BWANA / SUSTAINED DEVELOPMENT / ELEKTROJUDAS / EMERGE

Crossgrained

Format: do-CDR Year: 2013

"ACC 1009: 2 x CD-R in DVD-case The three solo tracks performed by If, Bwana on this live recording are based on sounds played on the bassoon, flute, and guitar and make a wonderful introduction to his work with layered, pitch-shifted acoustic instruments. This stuff is among the best you can get in contemporary drone music – rich in texture, sensuous, emotional, and still abstract enough to “clear the mind.” On another two tracks, If, Bwana is joined by his local support group at this July 2012 gig in Germany for an unlikely but happy marriage of his layered sound textures, 50 Hz hum, and lots of electroacoustic sound gadgetry. Supporting If, Bwana at his concert in Augsburg, Germany on 4 July 2012, local artists Sustained Development, elektrojudas, and EMERGE teamed up for a free improvised set using sampled bass guitars, miked-up wave drums and induction coils, monotrons, and smartphone apps, also documented on this 2 CD set. Another two tracks resulted from the trio joining If, Bwana for a demonstration of the possibilities of experimental music, which are endless provided they are approached in an open-minded way. In this case, two very distinct idioms – calm, contemplative drones and fidgety, highly interactive glitch/noise improvisation – fuse perfectly thanks to the alertness of the players." [label info] www.attenuationcircuit.de

€12.00

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IF, BWANA WITH/AND/BY TRIO SCORDATURA

E (and sometimes why)

Format: do-CD Year: 2012

"If, Bwana is always Al Margolis. Trio Scordatura is Elisabeth Smalt, viola d'amore; Alfrun Schmid, voice; Bob Gilmore, keyboard/laptop. The new 2 cd magnum opus by If, Bwana (Al Margolis) has been almost 3 years in the making. It is the first time he has composed works (usually with prerecorded sounds) specifically for another ensemble. Gilmore's Girls, Ringing (Ano)the(r) Bell, and Diapason, maybe were specifically written for Trio Scordatura. Cicada 4AA was the first piece of If, Bwana's they played (though not written for them in particular). E (and sometimes why) and All for Alf(run) were both composed after the initial recordings and used materials from those sessions. The Tempest, Fuggit, used some of Trio Scordatura's sounds and combined them with an absolutely awesome, over-the-top performance/reading of a section of Shakespeare's The Tempest by Michael Peters (of Poemrocket). We hope that answers the burning question 'Why If, Bwana with/and/by Trio Scordatura' ? There may not be a better way to describe their involvement with this recording ? they played with If, Bwana and they played If, Bwana and they were played with and by If, Bwana. Trio Scordatura is an Amsterdam-based ensemble that specializes in vocal and instrumental music involving microtonal tunings and spanning a broad range of musical styles. The basic sound-world of female voice, viola and keyboard is expanded by other sonorities depending on musical context. Their concerts feature classics from the worlds of microtonal and spectral music, together with new commissions from a wide range of contemporary composers and sound artists. trio scordatura grew initially from a project to perform the works for intoning voice, Adapted Viola and Chromelodeon by the American composer Harry Partch. This music, composed in the early 1930s, involves voice and two instruments - a viola and a harmonium - that were adapted by Partch in order to play music in his elaborate microtonal scale with more than forty unequal divisions of the octave. Besides performing the early works of Partch, trio scordatura has formed close working relationships with a number of leading contemporary composers, among them Phill Niblock, the late Horatiu Radulescu, Alvin Lucier, François-Bernard Mâche and Lasse Thoresen. The trio has performed at the Sonorities Festival, Belfast, UK Microfest 2 in Surrey, the KlankKleur Festival in Amsterdam, Musica Sacra Maastricht, Roulette in New York, the Logos Foundation in Ghent, the Transit Festival in Leuven, and gives regular performances at the Karnatic Lab series in Amsterdam." [label info] www.pogus.com

€20.00

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ILITCH

White Light

Format: LP Year: 2021

After multiple projects and collaborations with, among others, Valentina Fanigliulo (Mushy, Phantom Love), Nicholas Littlemore (Empire Of The Sun, Pnau), Aaron Moore, Quentin Rollet, Jac Berrocal ... Thierry Müller restart the "concept" of ILITCH for this opus - new ilitch album since 2010 (excluding reissues). Ilitch albums, too rare for some, cults for others, are from the beginning generated by important moments in the life of Thierry Müller. Inspired by them, reflecting them, sublimating them, treating them as therapy or bearing an incisive, sometimes impudent and / or disillusioned look, Thierry gives each opus a resonance, a sound, a singular treatment. In the bloodline of "10 Suicides", "Lena's Life" ... He gives us a very personal concept album: "Several health-related accidents have led me to reflect on the passing of time, resulting in flashbacks, disturbing feelings about memory and neurological disorders, the questions it causes, and a strange feeling that I tried to "translate" into the track White Light that gave the title to the album ... ". With the contributions of Jac Berrocal, Aaron Moore, Quentin Rollet and Milena Drither-Lerru, this introspective album takes us to unknown lands that can only question and seduce us. THIERRY MÜLLER: guitar, bass, synths, piano, keys, Mellotron, drums programing, voice JAC BERROCAL: trumpet MILENA DRITHER-LERRU: cello, voice  AARON MOORE: vocals, percussions, panpipes, harp  QUENTIN ROLLET: saxophone  https://bisourecords.bandcamp.com/album/white-light https://www.bisou-records.com/artists/thierry-muller/

€25.00

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ILLUSION OF SAFETY

Fin de Siecle

Format: CD Year: 2011

"Long overdue re-issue of this long out of print LP on Korm Plastics (kp 5495), and perhaps its fits the format of CD even better. Illusion Of Safety is Dan Burke, here with Kurt Greisch. Since 1983 Illusion Of Safety has been the ongoing project of Daniel Burke, working alone and with various collaborators. They have released over 20 CDs on labels such as Complacency, Die Stadt, Experimedia, Odd Size, Silent, Soleilmoon, Staalplaat, Tesco, and Waystyx, and played over three hundred concerts in Europe and North America. IOS' work has been called ambient, post-industrial, electro-acoustic, noise, sound collage, improvisation, and power electronics, but they are unwilling to limit their work to any given style or method. The sonic character and affective substance of the music will often shift abruptly within each recording and live performance. 'Fin de Siecle' was part of the 'ambient series' of Korm Plastics and has some highly subtle music to offer, based on field recordings and quiet electronics. Part One and Part Three, the original sides of the LP, were recorded for a tour in 1995 and edited to release on vinyl. The CD version has an extended 'prologue' and 'epilogue' as bonus tracks, making the total CD 66 minutes long." [label info] www.kormplastics.nl "Behind the legendary project Illusion Of Safety, you find the two sound artists, Daniel Burke and Kurt Griesch. The two main pieces of present album "Fin de siecle", was created for an American tour back in 1995. Due to the time-limit of the vinyl-media which was the original release format, the pieces were cut and revised to fit the time-span of the vinyl. Now sixteen years later, the two pieces have returned from the historical archives to be presented on this re-issue on Dutch label Korm Plastics. The twosome has for this particular occasion composed two smaller pieces - an epilogue and prologue for the original album. After the abrasive "Epilogue"-piece, we move into first piece of the original "Fin de siecle"-release, simply titled "Part one". A 22-minutes running piece of ambient tranquility built on repetitive sound-drones until the closing moment where the piece culminates in a harsh grande finale. Second piece of the original vinyl is a lengthy work combining field recordings and trippy sound drones - a subtle piece of an almost inaudible character. Stepping to the last piece of the album, the "Prologue"-track is another recent created work for this re-issue. As was the case with the epilogue, this is a piece of a more upfront nature with long-stretched monotonous tone that because of its repetitive nature create a nice hypnotic atmosphere stretched over the 22 minutes run-time." [NM/Vital Weekly]

€10.00

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ILLUSION OF SAFETY

Surrender

Format: CD-R Year: 2013

"I've been releasing things outside of the internet (no part of it), and one of them has been "Surrender", the newest outing by Illusion of Safety. Daniel Burke has made a "remix overview" of this work, and I had to let the cat out of the bag. More information can be found at the video link, including the mail box where money orders/hidden cash is to be sent. Do check it out! The video is exceptional! I've been told some of the processes in making it, and it's nothing short of deftly inspired! $7 postage paid in the US. $12 elsewhere. Available in pro cassette and pro CDR format. I haphazardly spurred Illusion of Safety back into live action in 2008 when I asked him to do a show with me at the Empty Bottle. From there, we were both asked to perform for WTII's monthly showcase at Darkroom, wherein this clown video material first surfaced, so it's a pleasure for me to release the nexus of a soundtrack to this imagery, coming full circle. "Illusion of Safety, just passing its 30th year since inception, is often regarded as the innovator of "ambient industrial". Despite having traversed nearly every arena of the experimental milieu, performed prestigious fests all over the world, and collaborated with some of widest ranging and heaviest hitting of the avante garde, core member/founder Daniel Burke has both shown a return to form and a veritable bouquet of new frontiers in his most recent outing, "Surrender". In just under 60 minutes, the listener is taken on a dizzying carousel ride where everything but the kitchen sink is employed to weave a deeply personal (abstract, wordless) narrative that comes off as minimalistic, condensed, and bombastic. But at the same time, it is a constantly shifting, complex and ornate grid iron amalgam of genuine enthusiasm and horror. Recommended if you like a complete disregard for the myopic trappings and short sighted formulae of contemporary sound art today." [label info] nopartofit.blogspot.de "Somewhere, an old T-shirt from Illusion Of Safety exists (the last we saw was affixed to Sigtryggur from Stillupsteypa some 10 years ago) with a deadpan/ironic catch-phrase "Illusion Of Safety gives you that soaring feeling" next to an image of a man tumbling headfirst out of a skyscraper window. Such a calculated juxtaposition of word and image was emblematic of the '80s art world (e.g. Barbara Kruger), often speaking to the underbelly of callousness, cruelty, violence and general amorality within consumerist society. Outside of this bold piece of iconography, Illusion Of Safety has operated within a more liminal state of mysteriousness through signifier and meaning. Even in their most placid albums of soft-focus ambience, the specter of some unknowable threat lurks in the background. More common in the Illusion Of Safety catalogue is an iron-fisted grasp of that sense of foreboding and dread through psychologically tense sound design. Over three decades in existence, this Chicago based project has been whittled down to its core member Dan Burke - with a few comrades-in-arms joining him occasionally - and is probably the longest running American industrial project, having produced a very impressive body of work. The 2014 album Surrender fits comfortably next to some of the masterpieces of the IOS back catalogue (e.g. Cancer, In Session, Historical, etc.) through the trademarked juxtaposition of noxious frequencies snaking in and out of harmonic phase patterns only to snap out of existence with a razor-cut edit into an electrical burst of tesla coil noise (for example). Disjointed rhythms, mediated collages, decontextualized field recordings, and psychoacoustic phrases map this album with incredible control and precision. Illusion Of Safety proves once again that they are one of the greats of industrial culture. Grab this album before it disappears, the pro-duplicated cd-r is limited to just 100 copies. Same for the cassette." [Aquarius Records] "Among the few artists I have been following what seems now to be a lifetime (Asmus Tietchens, Main, Organum), Illusion Of Safety is probably among them the band I saw play live most. Dan Burke, the main man, is a most loveable chap and he always surprises me with his next move. His music doesn't operate in any particular style, but overlaps various genres. Improvised, industrial, ambient, musique concrete, and even a bit of techno beat thrown in. Here's a new album that proofs it. It's called 'Surrender' (which word always reminds me of the Cheap Trick song) and on a label called No Part Of It, meaning they don't want to be part of the world of Internet. There is a website, but there catalogue is hand scribbled on a sheet of paper and the CDRs - professionally designed - can be bought with a money order. Yes! That's what I like. Swim against the tide. Music wise Illusion Of Safety does something we haven't seen him do in quite some time. The collage styled music in which lengthy chunks of sounds are suddenly cut away by voices from radio and TV, a techno beats slips into view and sounds remarkable like the early 90s works such as 'Historical', 'Inside Agitator' or 'Distraction'. Quiet at times, but also quite bombastic at other times, filmic but without too many words. And if we hear any, it's about nuclear waste leakage. In that sense this album also harks back to the post-industrial sound of yesteryear. The balance between the very quiet and the very loud, between the ambience and the beats, is maintained very well throughout this release. Daddy's all right: surrender!" [FdW/Vital Weekly]

€9.00

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IN MEDITARIUM [IN MEDITARIVM]

Les Fleurs du Mal

Format: CD-R Year: 2002

Last copies of this impressing CDR on polish label SOULWORM. IN MEDITARIUM is the project of Gorgoroth (who runs Ukrainian Dark Syndicate) and Kostolomo. This is visionary, ghostly dark ambience, creating a daemonic & unsettling atmosphere. “Another fine incarnation of the almighty Ukrainian artists of the First Human Ferro fame. In Meditarium has that easily recognisable sound, but makes a few steps deeper into dark atmospere of decadent joys of an alienated human being. Some ritualistic influnces are to be heard (say Archon Satani in the 'Virgin Birth' period), the rudimetary melodies fulfill the whole setting. The lyrics deal with consensual aspects of love and completion on the one hand, pain and and serenity on the other. James Joyce's lines (taken form 'Giacomo Joyce') constitute the final comment and an invocative epitafium to this masterpiece...“ [label info]

€10.00

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INADE & TROUM

To Pan Eon

Format: 10inch Year: 2026

Format: DVD Year: 2009

"Written and directed by Ione Music and sound design by Pauline Oliveros A collaborative venture among artists of all types, this “dance-opera” is a multimedia panorama of experimental theatre and technical virtuosity that includes aerial ballet, masks, video projection, a sinister thousand-eyed monster, and a highly imaginative electronic soundscape. The one-act story, set in primeval time, retells the myth of Io from a matriarchal perspective. Io, Argivian priestess, is transformed by a terrible spell and roams the world, lovely but tormented. While enduring entrapment by Argus, the terrible monster, she is befriended by the brilliant Bird who helps her discover the key to her escape. Only upon her arrival in Khemt (Ancient Egypt) does she begin to understand the true mystery of what her journey has been about and its meaning for the future of the world." [label info] www.deeplistening.org

€16.00

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IRISARRI, RAFAEL ANTON

Peripeteia

Format: CD Year: 2020

Over the years, American composer Rafael Anton Irisarri has become ubiquitous within the spheres of ambient, drone and electronic music. Whether it's through Irisarri's celestial long-form albums or his lauded audio engineering credentials for countless artists and labels, Irisarri's consistent dedication to his craft never wavers from the forefront. While Irisarri's compositions typically field an array of modern ambient overtones threaded through oceanic symphonies with tape loops, bowed electric guitar and vast washes of overdriven sound, his recent debut album for Dais Records, "Peripeteia, portrays these common themes giving way to metal and classical influences that emphasizes Irisarri's melancholic tendencies. These unique overtures, coupled with his signature layering of distortion and bleached-out textures, fabricate an audible environment that would seemingly be at odds with, yet gracefully complement each other. In Irisarri's own words, "My previous works internalize any exterior forces or circumstances, while trying to make sense of the world. Peripeteia reverses that approach, focusing on the personal in order to tell a wider human story." The emotional depth found throughout Peripeteia is impeccably on display with the track, Mellified. A collaboration with Spanish composer Yamila, the choral arrangements bring to mind the sacred music of Arvo Pärt, while her voice combines the Andalusian "Cante jondo" style with medieval modes, almost drowning in layers of octave fuzz distortion and dystopian synths patterns. On Arduous Clarity, the bright arpeggiating melody that churns throughout, offers the initial glimmer of optimism in an otherwise decaying tale of personal turmoil. This encouraging glimpse is short lived however, as the song Refuge/Refuse seemingly plummets into the mourning depths of somber despair. A chorus of voices steadily crawls from its desolate terrain - a sea of broken spirits, eternally resigned to strain and bellow their final lament. Fright and Control, a piece which is equally soul churning, seems to possess a satisfying resolve, as if after years of searching, one's very salvation has been laid to rest through the acceptance of mortality and the enlightenment in death. Irisarri's complexity is utilized to a forcible success, slowly pulsing throughout the foreground of his audience, further emphasizing the impending dread of resolve." https://irisarri.bandcamp.com/album/peripeteia

€15.00

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IRISARRI, RAFAEL ANTON

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LATER DAYS

InvalidObject Series (do)

Format: mCD Year: 2000

Das irische FÄLLT-Label hat auf einen Schlag ein Kompendium zur neuen digitalen laptop / click / glitch / IDM – Musik herausgebracht ! Das sind 24 mCDs mit allerlei bekannten und unbekannte Vertretern dieses jungen Genres. Wir haben die meisten da, hier eine Übersicht ! Limitiert jeweils auf schamlose 250 Stck ! Preis pro mcD : € 9.50 Better priced now, last copies of this absolute compendium of IDM. € 9.50 “ The invalidObject Series was established in 2000 as a sublabel of Fällt to release a finite series of twenty four 3"CD/.mp3 works. Offering a unique perspective on a diverse range of musical output at the turn of the millennium, the Series features work by some of the most respected artists operating within the field of '.microsound' and has been described as "a remarkable document of a vibrant artistic community and a critical moment in the evolution of digital music" (Philip Sherburne), "a showcase for the extraordinary range of practical approaches within contemporary electronic music" (Matt Ffytche, The Wire) and, simply, "impressive" (Rob Young, Editor, The Wire). “ [label press release}

€9.50

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LEITMOTIV LIMBO

Spiritual Disturbance

Format: CD Year: 2022

De la Catessen Records presents Spiritual Disturbance from Elijah Värttö's project Leitmotiv Limbo. Currently based in Port Adelaide, Australia, Leitmotiv Limbo has developed, slowly but surely, over the past few decades, through international travel and relocation, including five years in Estonia (2008-2012), where Värttö set up the Servataguse Muusika concert series. Spiritual Disturbance was recorded in 2020 and released privately as a small run of recycled cassettes -- this CD version is the first widely available Leitmotiv Limbo release since their 2018 split cassette with RNPno2 on Finnish label Hyster Tapes. Central to the Leitmotiv Limbo ethos are Värttö's self-made instruments, built from discarded, repurposed, and found objects, such as loose springs and other metallic implements. Affixed to wood sourced from a disused and dismantled piano frame, their deep resonance, both percussive and timbral, positions Värttö's approach within a trajectory of instrument builders/creators -- you can hear echoes of the music of artists like Z'ev, Hal Rammel, and Rod Cooper in the shattered textures and industrial drones of tracks like "Submersive", for example. There's also a tactility to the performances here, a haptic resonance, and a strange, viscous sensuality to the material. Värttö recorded Spiritual Disturbance in a church hall in Adelaide, on a four-track, using room mics and direct line input, and it's made up largely of one-take performances on Värttö's self-made instruments, with minimal intervention, at times, from analog filters and a drum synth. The combination of the evacuated tonalities of the instruments, plus the cavernous reverb of the recording space, gives Spiritual Disturbance a distinctly ritualistic sensibility; poetic and primitive, but eloquent in its exploration. It also brings to mind mysterious projects like Organum, Morphogenesis, Metgumbnerbone, perhaps even an acoustic Voice Crack, where conceptual rigor meets unpredictability via real-time improvisation. Spectral and haunted, Leitmotiv Limbo's Spiritual Disturbance is a compelling collection of oneiric expression, and an eloquent articulation of a unique, invented universe. Includes four-page booklet; edition of 300. https://leitmotivlimbo.bandcamp.com/album/spiritual-disturbance

€15.00

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LEITMOTIV LIMBO

Superior State

Format: LP Year: 2023

Superior State is the second Leitmotiv Limbo album released by Port Adelaide’s De la Catessen Records, after the 2022 CD Spiritual Disturbance. This time, Leitmotiv Limbo’s isolationist studies have been bumped to vinyl, which feels like the perfect format for these twelve miniatures. The project of Adelaide artist Elijah Värttö, Leitmotiv Limbo has, over the past few decades, tracked a history of quietly insistent experimentation, embracing several technologies – invented instruments; analogue filters; drum synth – to sketch desolate, cavernous structures, sometimes performed in reverberant spaces, such as church halls, which gifts the recordings a ritualistic air. For Superior State, Värttö is more intently focused on rhythms and pulses, resulting in a beautifully sculpted collection of poetic vignettes. You can hear some trace elements, here, of the minimalist techno-not-techno of artists like Pan Sonic, or Studio 1/Freiland, in their reductionist ethos. But also, in the insistence of Värttö’s attention to detail, and his careful focus on a delimited number of elements, the twelve pieces on Superior State recall the work of mysterious German outfits Werkbund and Mechthild Von Leutsch, or the solo explorations of artists like Asmus Tietchens, Achim Wollscheid and Goem. It's intensely evocative music, recalling all kinds of phenomena, both man-made and natural: electricity pulsing through wires; the humming of the central nervous system; the quiet hiss of deserted computer laboratories; the pulsations of plant life; the molecular vibration of atoms. Värttö has tapped into the poetry of the programmatic on Superior State, and he’s sharp in his grasp of the significant effect that the incremental shifting of a few simple parameters can have on the overarching structures he’s building here. Indeed, that poetry is echoed back in the beautiful liner notes by Adelaide artist Michael Hocking. Alive, flickering with incident, Superior State is energy transmitted, coursing through the collective’s veins. Music recorded in a room on Nile St, Port Adelaide across six evenings, of one week in January 2023. Instruments of analogue electronics were built, performed and recorded by Elijah Värttö directly to 4-track tape, with two room mics. The instruments form four quarters, as two hemispheres mirrored. Each hemisphere has a symmetry of structure, albeit comprised of differing materials. Detail of artwork: spray paint on metal by Elijah Värttö Mastered for vinyl by Giuseppe Ielasi Design by Sam Songailo ℗ Elijah Värttö 2023 © De la Catessen Records 2023 "While I recognized the Leitmotiv Limbo immediately, I was surprised that I had already reviewed four previous releases by Elijah Värttö's music project (Vital Weekly 951, 1152, 1219 and 1336). All of these were on cassette, but now it's time to do the next step and release an LP. The music is ready for it, I'd say. Värttö sounds like a Finnish name, but he's from Adelaide, just like the label here, who also re-issued the 'Spiritual Disturbance' cassette on CD. The press information talks about "invented instruments, analogue filters, drum synth" and influences of Pan Sonic, Studio 1 (Wolfgang Voigt rather than the dub label), Freiland, but also Werkbund, Asmus Tietchens, Achim Wollscheid and Goem. Some of these names I am very familiar with, and while I can't say these people don't influence him, I also believe that maybe, except for Werkbund and Tietchens, I don't hear these influences to that extent. Rhythm plays an undeniable part in the music here. Still, there is only some of that 'techno that isn't techno' of Pan Sonic or Goem here (more the latter than the first, in 'Parading Brutality', for instance), nor the conceptual edge of somebody such as Wollscheid. In these twelve pieces, I hear more of a nod towards mid-80s industrial music, where you can find albums by Tietchens of similar musical interests. Also, given the more loop-like approach, a group like Dome (in 'Relative Space', for instance). This LP is a giant leap forward compared to the previous cassette works. There was naivety in his older work, which was most enjoyable, but rightfully, it was time to move on. Leitmotiv Limbo now exercises more control, more composition, if you will. There is less of that 'roll the tape and see what happens' approach, but the music here is to the point. There is no endless wailing about, but each of the twelve compositions is just that. Not too industrial, never noisy, but with a studio-as-instrument approach, exploring uncharted territory on the sonic map. I can hardly wait for the next one." [Vital Weekly] https://leitmotivlimbo.bandcamp.com/album/superior-state

€26.00

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LIBEREZ

All tense now Lax

Format: LP Year: 2015

"Hermetically sealed and reveling in tumult, All Tense Now Lax is the most significant and developed work yet forged by Liberez. Based in main orchestrator John Hannon's remote studio No Recordings in Rayleigh, England, Liberez have expanded their palette from previous outings on Alter to produce a perfectly engineered machine that consumes the beholder." [label info] www.nightschoolrecords.com "It has become increasingly rare, in recent years, to hear 'industrial' records that fully merit the name. Like most experimental musical terms, it is a descriptor that has become useful only in small doses: usually in reference to artists utilising mechanical and oppressive sonic textures. This usage, however, only conveys a part of what industrial music was originally about. The great early industrial bands manipulated sound in such a way that it retained the flawed feel of human direction whilst simultaneously building a shrine to the electronic. Listening to the finest Throbbing Gristle records, for example, one is overcome by an atmosphere that is almost entirely alien and discomforting precisely because of its human element; something that even the most applause-worthy of (largely digitally based) industrial artists of today are incapable of quite accomplishing. This, perhaps, is what makes a vaguely 'industrial' outfit like Liberez such an enticing proposition. A group that blends the electronic with the acoustic, and works on foundations provided more by improvisation than by the meticulous organisation of much contemporary experimentalism, Liberez have been stalwarts of the deepest depths of the murky UK underground for some years now, rightly eschewing genre terms in favour of constant reinvention and re-articulation of their musical aims. All Tense Now Lax, however, sees Liberez reach new heights (or lows, depending on the way you want to perceive music so undeniably gloomy) in their apparent quest to capture the beautiful in the most disjointedly unnervingly fashion possible. Liberez’s determination to manufacture contrast is impressive from the album’s opening seconds. Intro track ‘ Of Milk’ fades in with eerie piano and ends with concrete drone, fading into the slow building tumult of ‘_Захвална породица’, complete with some mid-period Skullflower guitar wailing and clanking percussion. This is a pattern that continues throughout, with sections of fragile sound collage – rendered particularly effective by the regular presence of moaning violin – being presented along spiralling channels of paranoid distortion. At its most overblown and overwrought All Tense Now Lax is less disturbing and more genuinely frightening. ‘How Much for Your Brother?’ is a gross exhortation of primal malevolence, retching through its four minutes with the subtlety of a sledgehammer and the abrasiveness of a sandpaper razor. At the other end of the scale, ‘Stop Your Breathing’, the following track, mutters and groans through disembodied fragments of noise, which eventually (and briefly) end up coalescing into a faintly beautiful climax. The combination of these two styles alongside one another is exhausting but powerful, like a stripped down Godspeed You! Black Emperor at most minimalistic and effective best. All Tense Now Lax, then, is brilliant precisely because of the way it flits disconcertingly between the two extremes presented in its title, between the constant and unrestrained tension of technological progress and the contrasting looseness of our day to day existence alongside it. The overall result is an enormously adept capturing of the conundrum of the 'industrial' in a post-industrial landscape." [Benjamin Bland / Drowned In Sound]

€21.00

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LICHT-UNG

Gieb Fahrt!

Format: mCD-R Year: 2007

3" CDR, 1 TRACK, 1 VIDEOFILE, 12 MINUTES. LIMITED AND NUMBERED EDITION OF 150 COPIES. MINI DVD BOX WITH 2 INLAYS. licht-ung, a art (lyrics, pictures, etc.) and sound project from Germany. The name stands always for his very own art. Strange, peculiar, dadaistic. licht-ung have several releases on his own label, some are splits with artists like Government Alpha, Stilluppsteypa, Aube. There is also a 7" on Drone Records, that shows the lower side. This TOSOM release contains a 12 minute piece, in the best japanese Noise tradition. Very harsh, very intensive, very loud. The second track is a short video file for your PC. lichtlaterne. wenn der regen nebens cafe faellt. und jemand spaziert. einen brief schreibt, und geburtstag hat. endlich, finalmente, sind wir drin. wir koennen tanzen, klettern, sehen den fluß. seine schiffe. auch fuer sie scheint eine ampel. die post spart hilfe die ganze nacht lang auf. waere sie nicht gewesen, haette viel dort bleiben muessen, denn wir koennen nicht alles behalten. wir konnten nie alles loslassen. nur alles haben wir verloren. die maserung bleibt wie eine spur in der tuer. in einem anderen land. Du lebst." [label info] "... So Johannes is to contemporary noise what Da Vinci was to the renaissance? The 3inch has a strange short video of 6 seconds and a 12 or so minute harsh noise work which mixes harsh rumble with high pitched feedback. The noise piece is competent to the point of a total refinement of what harsh noise should be, and that's praise not criticism, it winds and weaves through a sonic landscape at times quixotically so much so that the piece IMO could have been longer - but it pays to leave your audience wanting more - which I do (though not sprouts!)." [Jliat / Vital Weekly] label: www.tosom.de

€7.50

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LICHT, ALAN & AKI ONDA

Everydays

“Behind every image, something has disappeared. And that is the source of its fascination. Behind virtual reality in all its forms [...] the real has disappeared. And that is what fascinates everyone. According to the official version, we worship the real and the reality principle, but — and this is the source of the current suspense — is it, in fact, the real we worship, or its disappearance?” [Jean Baudrillard, “Why hasn’t everything already disappeared?” Translated by Chris Turner, Seagull Books 2009] “untitled #284” was created in 2011 by extensive evolutionary transformation of original environmental recordings made in Lisbon during the year of 1992. These sources were recovered for a commission of the Teatro Municipal Maria Matos, where the composition was premiered on 16 July 2011. Francisco López is internationally recognized as one of the major figures of the sound art and experimental music scene. Over the past 40 years he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. Destroying boundaries between industrial sounds and wilderness sound environments, shifting with passion from the limits of perception to the most dreadful abyss of sonic power, proposing a blind, profound and transcendental listening, freed from the imperatives of knowledge and open to sensory and spiritual expansion. He has realized hundreds of concerts, projects with field recordings, workshops and sound installations in 70 countries of the six continents. His extensive catalog of sound pieces (with live and studio collaborations with over 150 international artists) has been released by more than 350 record labels worldwide, and he has been awarded four times with honorary mentions at the competition of Ars Electronica Festival. https://cronica.bandcamp.com/album/untitled-284

€12.00

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LOPEZ, FRANCISCO

1987

Format: CD Year: 2023

Francisco López is internationally recognized as one of the major figures of the sound art and experimental music scene. For almost forty years he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. Destroying boundaries between industrial sounds and wilderness sound environments, shifting with passion from the limits of perception to the most dreadful abyss of sonic power, proposing a blind, profound and transcendental listening, freed from the imperatives of knowledge and open to sensory and spiritual expansion. He has realized hundreds of concerts, projects with environmental recordings, workshops and sound installations in over seventy countries of the six continents. His extensive catalog of sound pieces (with live and studio collaborations with hundreds of international artists) has been released by nearly 400 record labels / publishers worldwide. He has been awarded four times with honorary mentions at the competition of Ars Electronica Festival and is the recipient of the Qwartz Award 2010 for best sound anthology. https://universaalkunst.bandcamp.com/album/1987

€13.00

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LOPEZ, FRANCISCO / MICHAEL GENDREAU

Untitled # 185 / Drowning

Format: LP Year: 2006

Split-LP des ex-CRAWLING WITH TARTS Mitglieds MICHAEL GENDREAU mit dem spanischen Puristen FRANCISCO LOPEZ - Vinyl-Kratzer & Rauschen von Auslaufrillen uralter Platten, aber auch die Geräusche der Mechanik & Motoren von antiken Plattenspielern dienten als Klangquelle für diese Bearbeitungen, ein Meer von low-fi Knirschen, Rascheln & Geknister, von multiplen 'white Noise'-Flächen und rhythmisch-repetitiven Mustern, so ungewöhnlich & wie überraschend im Verlauf... "Francisco Lopez is perhaps best known for his dynamic studio and live performances that sway between crushing silence and dynamic, shifting volume swells. Over the course of 25 years, Lopez has developed and honed a refined audio lexicon. Michael Gendreau entered the experimental sound community in the early 1980s with his project Crawling With Tarts. As a solo artist, Gendreau caught everyone¹s attention with the 2002 release of his CD 55 pas de la ligne, composed of recordings based on old turntables and one-of-a-kind LPs. For this LP, Gendreau, a trained acoustician, used extremely refined microphones--designed for acoustic and vibrational research--to record sounds such as turntable motor hum, belts, and run out grooves on records more than 70 years old. His side is an incredible journey through a forest of alternately prickly and soothing sounds. Lopez used similar source material for his side, creating a refined oceanic wall of sound constructed from crackle, hum, and scratches. This LP is in a numbered edition of 500 copies and signed by both artists." [label website info] "Francisco Lopez has previously collaged vinyl crackle and hiss with aplomb on his untitled 92, and Michael Gendreau has worked with similar material on his 55 pas de la ligne au no. 3. both return to the materiality of vinyl run out grooves and the internal mechanics of the turntable as sources for this exceptional split release, with each artist applying their own conceptual and aesthetic sensibilities to the sounds. Lopez amplifies and overlays tactile sounds of hissing vinyl into an industrial din whose crescendo abruptly cuts to a wheeze of spiralling surface noise. Where lopez concentrates on the output of his turntable, gendreau focuses on the mechanical object itself, deftly recording the belts, motors and cranks of antique turntables, and using sensitive microphones to explore the ghostly musical pssages that creep between the rumble of wooden resonance and crackle." [Jim Haynes, the Wire (November 2006)] "....His piece, 'Untitled #184' is audible throughout, and is a densely layered carpet of sound all sorts of sounds coming from vinyl. It hisses, pops and cracks in all sorts of ways, but never in an overtly rhythmic manner. It seems to me that Lopez created all of this by making many layers of sounds and removing any possibility of repetition. The piece by Gendreau uses similar sounds, but here musical elements leak through, or perhaps are created by the various possibilities of playing the records with motors, swift speed change and such like. Whereas Lopez creates a mass of sound, Gendreau presents an audio collage. Two possibilities of working with material like this. Two great examples of those possibilities. Richly textured and no doubt will go down for the very adventurous DJs." [FdW / Vital Weekly]

€8.00

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LOPEZ, FRANCISCO & XABIER ERKIZIA

Elektra Bidasoa

Format: CD Year: 2011

"A collaborative project between two seasoned sound artists dedicated to a profound listening of sonic phenomena. Created with original recordings from power plants along the Bidasoa river in the Basque Country, Erkizia and Lopez have built vivid straighforward and transformed sound environments from a myriad hums, rattles, crackles, and drones from the wide variety of machinery and industrial electrical facilities inside the power plants. A macro and microscopic journey into a detailed and crisp virtual sound world from the generation of electricity." [label info] http://fernsrecordings.free.fr

€13.00

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LOPEZ, FRANCISCO WITH VALENTINA LACMANOVIC

With/In

Format: CD Year: 2013

"Francisco López is internationally recognized as one of the major figures of the sound art and experimental music scene. For more than thirty years he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. Destroying boundaries between industrial sounds and wilderness sound environments, shifting with passion from the limits of perception to the most dreadful abyss of sonic power, proposing a blind, profound and transcendental listening, freed from the imperatives of knowledge and open to sensory and spiritual expansion. He has realized hundreds of concerts, projects with field recordings, workshops and sound installations in over sixty countries of the five continents. His extensive catalog of sound pieces (with live and studio collaborations with over 150 international artists) has been released by more than 300 record labels worldwide. He has been awarded four times with honorary mentions at the competition of Ars Electronica Festival and is the recipient of the Qwartz Award 2010 for best sound anthology. Since 1999 Valentina Lacmanović has researched dances from different cultures through their ritual, folk, classic, and contemporary aspects. From 2001 onwards, her work has been focused on the creation of dance-theater and multimedia performances where Eastern and Western worlds meet. She has worked intensively on creating performances inspired by dances of trance and collaborates with artists from various disciplines. Profound research into dances of trance and ritual versus performing spaces since 2003 gave new direction to her work as an art director and performer. Her investigations into whirling dance led to insights into its origins and practice extending beyond Sufi meditation that supply an inexhaustible source of artistic inspiration and contemporary creativity, ultimately resulting in the project Shedervish, which marked an important change in her artistic development. “With/In” features one long track created by Francisco López with original sound matter recorded from body, clothes and immediate surrounding space during ritual whirling by Valentina Lacmanović. As subtle as the almost invisible image that appears on the back cover, this work translate the dancer’s breath and movements into music. One of the most interesting concepts in López later works and surely one of the best entries in his ever-growing discography." [label info] www.silentes.net "It's been recently slow (?) - it seems - with releases by Francisco Lopez. Here he has new work which the cover notes 'created with original sound matter recorded from body, clothes and immediate surrounding space during ritual whirling by Valentina Lacmanovic'. She is dancer, who studied in Croatia, France, Spain, Turkey, India and The Netherlands where she now lives. "Her main focus is a contemporary view of dances of trance, and research on convergences and divergences between contemporary western and oriental performing arts, in collaboration with musicians, video-artists, film-makers, dancers, and experts in fields of science, including physics, anthropology, ethnology, and psychoanalysis." The ritual aspect is important. I assume the music from Lopez here is both a musical registration of what she does - a field recording of dancing - as well as maybe a soundtrack to one of her dances? Either way. The immediate surrounding aspect is because she moves around, obviously, which makes we hear lots of aspects of her dancing. Her feet on the floor, her dress moving about or a lengthy section using her voice, breathing heavily. Lopez creates lots of loops out of this, smaller and longer and quite usually plays a lot of those at the same time. He filters them radically, occasionally, and sometimes a few drop in or out of the mix, so that quite a vibrant mix remains. The effect of swirling remains present throughout and throughout there is always 'something to hear', but that's recently with most of the Lopez CDs. It moves from the quite low end range to the very high end range and everything in between. A fine work by Lopez, and maybe the most innovative element here is the choice of sound input." [FdW/Vital Weekly]

€13.00

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LOS ANGELES FREE MUSIC SOCIETY (L.A.F.M.S.)

35 S. Raymond Avenue

Format: LP Year: 2018

"One afternoon in 1975, friend and fellow music traveler, Harold Schroeder, showed up at Poo-Bath Record Shop where Tom Recchion worked selling records and experimental music to people, forcing them to buy albums that he swore would change their lives. Harold asked if Tom wanted to share in a studio space close to the shop. After seeing it Tom Recchion immediately said “YES!”. They moved in and divided the space in half. On Tom’s half he made drawings, paintings, performances, video, sculptures, installations and music. Harold had his all set up for music with his newly acquired Steiner-Parker synth and guitars and things. At the beginning they played under the name “The Two Who Do Duets”. Soon the late night jam sessions that took place in the back of Poo-Bath moved over to the 4th floor of 35 South Raymond. It was pretty beat up and derelict, the way one imagines an artists’ studio to look. They could make all the noise they wanted. No one else was on their floor. The music heard on this LP has remained unheard since it was recorded and was created just before and right after the inaugural concert by the LAFMS groups Le Forte Four, Doo-Doettes and Ace & Duce. This concert took place in late January 1976. The sessions on this release feature members of the newly formed and expanded Doo-Doettes, which now included Dennis Duck, Juan Gomez, Harold Schroeder and Tom Recchion, as well as Ju Suk Reet Meate from Smegma and Ace, of Ace & Duce. 35 S Raymond eventually became a sort of LAFMS headquarter, with Chip Chapman of Le Forte Four, artist and future Extended Organ vocalist/guitarist Paul McCarthy, and soon to become singer for Nervous Gender, punk/folk artist Phranc, who along with many other artists and musicians, moved into the building. 35 S Raymond allowed for free expression and explorations of all sort. Some wild parties ensued, not to mention the luxury of endless hours of experimentation. Parking was free and so was the art and music. Ace found the tapes for side one (“Tom’s Studio”) in his archive and Ju Suk Reet Meate found the tapes for side two (“50 of Every American Are Machines”) and edited them both for this release. No overdubs or remixing was employed. Edition of 200 copies presented in luxury gatefold sleeve."

€25.00

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LS-TTL

el-es-tee-tee-el

Format: CD Year: 2000

„the soundtrack for the untitled film of the mind“.. neues dark ambient–Projekt aus den Staaten, ruhigere Synth-Passagen wechseln mit rauheren, effektvoll gestalteten Tracks, zwischen geisterhafter und eher entspannt dunkler Atmosphäre.. [Drone Rec. info 2000] " LS-TTL is an experiment in sound for those who care for new and interesting musical methodology. Combining elements of computer science and studies into the realms of Tao and Zen, unique elements spring forth from this artists strange fusion of the Yin and the Yang. Almost 70 mins of Cold Harsh Ambience flowing with Power Electronics and Ritualistic feelings.” [press-release].

€10.00

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LUCIER, ALVIN

Almost New York

Format: do-CD Year: 2011

"CD 1 - Twonings: Charles Curtis, cello; Joseph Kubera, piano; Almost New York: Robert Dick, flutes; Broken Line: Robert Dick, flute; Danny Tunick, vibraphone; Joseph Kubera, piano CD 2 - Coda Variations: Robin Hayward, tuba Pogus is extremely delighted to release this 2 CD set of recordings of works by Alvin Lucier. He is one of the key experimental artists of the 20th and 21st centuries, and is one of my favorite composers. A unique and individual artist: No one sounds quite like Alvin Lucier. Lucier writes about the genesis of the works on this release: "Since the early 1980's I have made a series of works for conventional musical instruments. Before that time I had been mainly occupied with the exploration of such phenomena as echoloca-tion, brain waves, room acoustics and the visual representation of sound. Often these works required special equipment-hand held pulse wave oscillators (Vespers), differential amplifiers (Music for Solo Performer), horseshoe magnets (Music on a Long Thin Wire). Then players began asking me for pieces. Now I needed to find a way of achieving the same poetry with acoustic instruments as I did with electronic means. "One of the things I discovered was that players could create rhythmic patterns by closely tuning with electronically generated pure waves or with each other, producing audible beats. Often, to get continuous motion, I have one or more voices sweep up or down at various speeds against fixed sustained pitches. As a wave approaches a sustained pitch the audible beating slows down to zero when it reaches unison, then speeds up again as the wave leaves the pitch. Almost New York employs slow sweep pure wave oscillators, Broken Line, flute glissandi. In Twonings two different tuning systems collide and in Coda Variations slight variations in pitch are heard chronologically." Recorded by Charles Curtis, Joseph Kubera, Robert Dick, Danny Tunick, and Robin Hayward - some of the leading new music performers of our era, these works are essential additions to the Alvin Lucier oeuvre, as well as satisfying anyone interested in great experimental music." [label info] www.pogus.com "Usually press texts say lots of things which is just the sort of thing record label use to exaggerate to drum up interest for their artist. But when Pogus writes about Alvin Lucier 'an unique and individual artist: no one sounds quite like Alvin Lucier', I can only agree. I sang praise for the work of Lucier before. His ongoing investigation into sound phenomena, with or without the use of instruments has been going on for more than forty years now, and brought him the status of a well-known composer. And when you are well-known, people will ask you for pieces, for them to perform. On 'Almost New York' we find four of those pieces, three on disc one and one on disc two. We have hear instruments we came across before in Lucier's work, such as piano, cello and flute. In 'Twonings' for cello (performed by Charles Curtis, who himself performed more work by Lucier, and released a 2CD by Antiopic - see Vital Weekly 498) and piano, we don't have any sweeping oscillations to be followed, but two closely tuned instruments, but with enough variation in pitches to clearly distinguish differences. In the title piece we have one player and five flutes, who follows two pure wave oscillators and moves between playing five flutes, not simultaneously of course. 'Broken Line' is, then again, more alike the first piece, but then staged for three instruments, flute, vibraphone and piano. The most radical work here is the piece 'Coda Variations', which takes up the entire second disc. Robin Hayward performs it on tuba. Based on eight notes from a Feldman piece, Lucier subjected them to seven sets of permutations of sixty-three notes each. No sine waves to play along, just the sound of single notes played at one time each, for almost fifty minutes. An intriguing work. Of these four pieces, there is only one which we could label as 'traditional Lucier' work, but the three others display probably just as well what Lucier, less the pure waves and all four are simply four more great pieces. Indeed: no one sounds quite like Alvin Lucier." [FdW/Vital Weekly]

€18.50

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LUSTMORD

[O T H E R]

Format: CD Year: 2022

Das zehnte Studioalbum »Other« der Elektronik-/Industrial-Musikpioniere Lustmord wurde 2008 veröffentlicht und ist bis heute das einzige Lustmord-Album mit Gitarren, gespielt von Adam Jones (Tool), King Buzzo (The Melvins) und Aaron Turner (Isis). Das Album erschien ursprünglich auf dem unabhängigen Plattenlabel Hydra Head Records, das von Isis-Frontmann Aaron Turner gegründet wurde und früher Bands wie Converge, Pelican, Jesu, Sun O))) oder Boris beherbergte. Wie ein Journalist es damals formulierte, ist »Other« ein "düsteres Beispiel für einen vollendeten Künstler, der genau innerhalb der Parameter arbeitet, die er sich im Laufe der Jahre selbst gesetzt hat." Dieses Album zeigt Lustmord von seiner charakteristischsten Seite, und das eisige, unheilvolle Gitarrenspiel von Jones, Turner und Ozborne fügt sich perfekt in die tiefen Klanglandschaften ein, die diese beängstigende und doch inspirierende Reise ausmachen. Tatsächlich sind die Songs so kraftvoll, dass es Williams dazu bewegte, zwei Ambient-Remix-Versionen und eine Dub-Remix-EP zu erstellen, die die Klänge dieses Albums so weit wie möglich erforschen. Im Jahr 2022 arbeitet Lustmord für The Others (Lustmord Deconstructed) mit Künstlern wie Godflesh, Mono und Zola Jesus, um nur einige zu nennen, an Neuinterpretationen der »Other«-Songs zusammen, die ebenfalls jetzt erhältlich sind. Reissued in all its incarnations plus re-interpreted: Electronic/Industrial music pioneer LUSTMORDs tenth studio album [ O T H E R ], originally released in 2008 and to date the only LUSTMORD album with guitars on it, performed by Adam Jones (TOOL), King Buzzo (THE MELVINS) and Aaron Turner (ISIS). [ O T H E R ] originally came out on independent record label Hydra Head Records, founded by ISIS frontman Aaron Turner and former home of bands such as CONVERGE, PELICAN, JESU, SUN O))) or BORIS. As one journalist put it at the time, [ O T H E R ] is a "grim example of a consummate artist who is working frmly within the parameters that he has laid out for himself over the years." This album shows Lustmord at his most characteristic, and the icy, ominous guitar playing of Jones, Turner and Ozborne resonates perfectly within the deep soundscapes that make up this frightening yet inspiring journey. As a matter of fact, the material on [ O T H E R ] is so powerful that it moved Williams to create two ambient remix versions of it, and one dub remix EP exploring the sounds of this record to the greatest extend of his ability. In 2022, and also available now, LUSTMORD further collaborates with artist such as GODFLESH, MONO and ZOLA JESUS, to name but a few, for THE OTHERS (LUSTMORD DECONSTRUCTED) on re-interpretations on [ O T H E R ] tracks. LUSTMORD is the artistic moniker of Brian Williams. Born in North Wales, he started his musical career in 1980 and soon became a pioneer in the early industrial music scene in the UK. He was a former member of SPK during arguably their most crucial era, and went on to work with THROBBING GRISTLE members Chris & Cosey as well as appearing on early albums by CURRENT 93, NURSE WITH WOUND and others. After relocating to Los Angeles in 1993, Williams worked on dozens of motion picture soundtracks including The Crow, Underworld and Paul Schrader's First Reformed. Additionally he created several video game soundtracks, television scores and solo albums, as well as collaborating with artists as varied as THE MELVINS, CLOCK DVA, JARBOE, John Balance of COIL, Paul Haslinger (TANGERINE DREAM), PUSCIFER, Wes Borland and more, including Grammy Award-winners TOOL on their much acclaimed effort Fear Inoculum. To this day, Lustmord is actively recording and releasing music, his latest release being the collaborative album Alter with Karin Park of A°RABROT, and he is considered to be the founding father of the dark ambient music genre. [press release]

€16.00

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LUSTMORD

[Beyond]

Format: CD Year: 2022

Reissued! Electronic music pioneer LUSTMORD released an album titled [OTHER] in 2008, to date the only LUSTMORD album with guitars on it, performed by Adam Jones (TOOL), King Buzzo (MELVINS) and Aaron Turner (ISIS). The albums The Dark Places of the Earth and Beyond, both released in 2009, are extensions of the ideas explored in [OTHER] and are taken from the same recording sessions, but with the guitars removed and the essence of [OTHER] distilled and reduced.[OTHER] was a journey with friends, while The Dark Places of the Earth and Beyond take the concept and listener further, deeper, in-between and beyond. While is some ways [OTHER] is as close to a "rock" album as Lustmord will ever make, The Dark Places of the Earth and Beyond are pure Lustmord, a sound that many others imitate but can never equal. LUSTMORD is the artistic moniker of Brian Williams. Born in North Wales, he started his musical career in 1980 and soon became a pioneer in the early industrial music scene in the UK. He was a former member of SPK during arguably their most crucial era, and went on to work with THROBBING GRISTLE members Chris & Cosey as well as appearing on early albums by CURRENT 93, NURSE WITH WOUND and others. After relocating to Los Angeles in 1993, Williams worked on dozens of motion picture soundtracks including The Crow, Underworld and Paul Schrader's First Reformed. Additionally he created several video game soundtracks, television scores and solo albums, as well as collaborating with artists as varied as THE MELVINS, CLOCK DVA, JARBOE, John Balance of COIL, Paul Haslinger (TANGERINE DREAM), PUSCIFER, Wes Borland and more, including Grammy Award-winners TOOL on their much acclaimed effort Fear Inoculum. To this day, Lustmord is actively recording and releasing music, his latest release being the collaborative album Alter with Karin Park of A°RABROT, and he is considered to be the founding father of the dark ambient music genre. https://lustmord.bandcamp.com/album/beyond

€15.00

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LUSTMORD

"On Far West, the MASTER MUSICIANS OF BUKKAKE mark a turn from their Totem Trilogy. If the Totems were an expression of yang energy, then the Far West cycle is the yin that took seed within the trilogy. What happens when you travel so far east looking for enlightenment that you pass your destination and are headed west again? The mania of being lost in the mountains of the Cascade Corridor, searching aimlessly for the Northern Pacific coast. A spiritual Donner party of sorts, feeding off fantasy and mirages and imaginary shamans. Far West is the soundtrack to this expedition to the caves of light we all travel into with hopes of acquiring redemption, only to realize our bodies have dissolved—gone like rain from the sky, snow from the ground, thoughts from the mind. The sound of Far West is a progressive folk record inspired by Paul Giovanni's Wicker Man soundtrack, early Canterbury prog folk, the suspenseful soundtracks of Goblin and Ennio Morricone, Gerry Goldsmith's interwoven dark orchestrations, and Pacific Northwest folk rock. The Master Musicians of Bukkake take an earthly and shamanistic approach to these influences and infuse it with Krautrock pulses interweaved with acoustic guitars, intricately layered rhythms, hazed-out modular analog synths, brassy stabs, and cultish choirs. A true psychedelic, audiophile experience to dissolve your body in. Far West also features backing vocals by Sub Pop! recording artists ROSE WINDOWS, a deluxe cover illustration by Simon Fowler, and the amazing photography of ALISON SCARPULIA." [label info] www.importantrecords.com

€13.50

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MATHIEU, STEPHAN & EKKEHARD EHLERS

Heroin

Format: LP + 12inch Year: 2020

"Between Christmas 2000 and New Year 2001 producers Ekkehard Ehlers and Stephan Mathieu recorded an album of warm, soft, delicately crackling electronic music in the space of that week. It was christened with the ambivalent title "Heroin" and was released on CD via the label Brombron in 2001 and later in 2003 re-issued on Kit Clayton's Orthlorng Musork on double-LP with remixes the pair had commissioned as expansions. 17 years later Heroin sees its first vinyl release to include all 13 tracks from the original CD track-list on this LP + 12“ set. The centerpiece "Herz" finally receives its long deserved vinyl treatment (side C, at 45rpm) and on the flip side Thomas Brinkmann contributes a mirror in a magnificent remix of that very piece on side D. Ehlers and Mathieu were both highly prolific solo artists during the period 2000-2004, and in just two years after the initial release of "Heroin" each had produced over half a dozen new solo recordings: among them the serial masterpiece Ehlers' "Plays" (Cornelius Cardew, Hurbert Fichte, John Cassavetes, Albert Ayler, Robert Johnson) released as 5 stunning LPs in a series on Staubgold, while Mathieu's 'Full Swing Edits' spread over five 10" records plus his album 'FrequencyLib' on Mille Plateaux, 'Die Entdeckung des Wetters' on Lucky Kitchen and ‘The Sad Mac’ on Atsushi Sasaki’s Headz label were greeted to critical acclaim. Both artists were expanding their conceptual sonic approaches in the glow of developing laptop technologies which would to these times in 2020 seem quite primitive, but these two in that period used the state-of-the-art to aid and abet their conceptual visions, while at times the duo used unorthodox experimentation - yet always had a distinctively melodic and musical form at its heart and soul. Ehlers can be seen as a conceptualist, as a meta-musician who interrogates the mediums and methods of sound production - reflecting on the conditions and possibilities of improvisation (e.g. "Plays Albert Ayler") and exploits ideas of mutation and distortion of popular aesthetics played out within a ghostly form of divine pop beauty in his project März. Mathieu, originally a drummer and co-founder of what has come to be known as the Berlin 'Echtzeitmusik' scene. His approach could be similarly described as working a critical analyst and researcher: Subtly and precisely working in the realm of processing as a method of intervening in melodious/harmonic analog sound sources. Ehlers and Mathieu may not think too much about their singular productions and publications outcomes, but instead concentrate on the process and musical personality that characterizes their gesture- style itself stays in the background - and they usher a music from small minimal sound sources coaching a patient music of slow intervention - much like a refraction of light than a concrete painting or a blurred photograph - beatus accident. And indeed, "Heroin" is an album that embraces the happy accident being made up of reduced, often very catchy and very direct micro hooks which seem laser-guided into a space accepting obvious melodic beauty in what feels like an observation of musics unfolding and revealing it's DNA, embed with for a kind of yearning for innocence and naiveté - as if Satie were on the jukebox in "The Crying of Lot 49". Not to say the music is "reduced", but rather: 'restricted' and born from acceptance of limitations, and the artists allowing the sounds to just "be.." with some incremental degrees of coercion. The album not only sounds like that of 2 producers who are both dreamers and scientists, but that Ehlers and Mathieu chose to work with these means in a dialogue together to reduce pop music to its musical/tonal core, it is not Pop music anymore, rather a ghostly pointilistic itteration of song. "Heroin" is located at this transition, around that point at which tracks, that were or could have become pop compositions, irrevocably slip into a static harmonic nirvana. We are invited to follow the arch of Heroin in a slow-motion morphine musical haze. Heroin sounded timeless when originally released and proof is that it remains so, one wishes that Ehlers and Mathieu would convene again for a week, a month or an entire year to continue this process of slow rumination, picking affectionately over the sounds they both love - and then maybe when everything is condensed, evaporated they would write more songs with those sonic refractive elements that remain. Remastered by Stephan Mathieu, March 2020. Vinyl cut by Lupo @ Loop_O. Design by Caro Mikalef for Cabina." https://schwebung.bandcamp.com/album/heroin

€26.00

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MATTIN & RICHARD FRANCIS

Lisa Says

Format: LP Year: 2012

"LP clear vinyl 33 rpm release date: 18.09.2012 artists: MATTIN & RICHARD FRANCIS title: Lisa Says order no.: aatp38 time: ca. 50 min sleeve designed by Richard Francis, comes with text insert. Clear vinyl 300 handnumbered copies. On “Lisa Says”: This LP captures the first transcontinental collaboration between artists Mattin and Richard Francis with sounds recorded in Stockholm, Berlin and Auckland, NZ. The mixdown portrays the current state of affairs in composed noise: filtered gritty sound blocks flow and float with no seeming direction when sudden breaks puncture the structure and create something like a melody. Well, almost. The music is accompanied by a text insert that documents a skype conversation between the two artists discussion the methods and aesthetics connected to this release and their ways of working in general. Mattin Bio www.mattin.org Mattin is a Basque artist working with noise and improvisation. His work seeks to address the social and economic structures of experimental music production through live performance, recordings and writing. Using a conceptual approach, he aims to question the nature and parameters of improvisation, specifically the relationship between the idea of “freedom” and constant innovation that it traditionally implies, and the established conventions of improvisation as a genre. Mattin considers improvisation not only as an interaction between musicians and instruments, but as a situation involving all the elements that constitute a concert, including the audience and the social and architectural space. He tries to expose the stereotypical relation between active performer and passive audience, producing a sense of strangeness and alienatio in that disturbs this relationship. Richard Francis Bio www.richardfrancis.net.nz Richard Francis has been releasing works on CD/vinyl, performing solo and in collaboration as a touring artist since 1996. He uses field recordings of acoustic and electronic sounds and a tone generator to compose sound works. He has released solo and collaborative music on a number of labels worldwide and runs his own label CMR through which he releases limited edition lathe cut records by New Zealand artists. In performance he uses a computer and electronics and has toured Japan, Australia, Hong Kong, Canada, USA and Europe. Since 2003, Francis has composed works for sound installation, participating in group and solo shows at galleries throughout New Zealand. He has collaborated for recording and performance with many artists, and has had recent published collaborative CDs with Jason Kahn (USA/Swiss) and Francisco Lopez (Spain). Collaborations for recording and/or performance: Bruce Russell, Francisco Lopez, Jason Kahn, Mattin, Birchville Cat Motel, Gate, MSBR, Tetuzi Akiyama, Lawrence English, Rosy Parlane, Howard Stelzer, Jason Lescalleet, Jay Sullivan, Empirical, Pumice, Kuwayama Kiyoharu, Phil Dadson, Anthony Guerra, Sean Meehan, Ishigami Kazuya, Antony Milton, James Kirk, MHFS, Tim Coster, Paul Winstanley, Takefumi Naoshima, Toshihiro Koike." [label info] "A project in two parts, one the actual music, as recorded on July 3 2008 in Berlin and one the conversation as a piece of text from August 31 2011 in which Richard Francis and Mattin talk about the recording from three years before, about their methods of working together but also with others. A fascination they have in common is about white and pink noise, and sustaining those sounds. It's an interesting text to read, as it clears up some interesting things but it's not entirely necessary to read the text to like the music I should think. The buzzing, cracking and sustaining sound, which sometimes hoovers closely above the threshold of hearing, reminds the listener of your ventilator or heater buzzing, or the faint noises from afar late at night. If I understand right, this record is for Francis an end to the way he working and for Mattin the start of a new working method, a more conceptual approach if you will. This record contains some very minimal music, with very few sound elements, but are fascinating to hear. Crackles of vinyl (not from the pressing), field recordings very remotely humming and the white/pink noise slowly washing ashore and moving away. All of this in a very quiet and contemplating way. If you think Mattin is all about noise then you should surely try this record for a change. Maybe this is more what you would expect from somebody like Richard Francis, but this is a great improvised electronic record. Excellent head space music." [FdW/Vital Weekly] www.aufabwegen.com

€13.00

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MAZUREK, ROB / EXPLODING STAR ORCHESTRA

Dimensional Stardust

Format: LP Year: 2020

Marfa TX-based multidisciplinary abstractivist Rob Mazurek has made an indelible impact on creative music over the past 30 years. Emerging from the musical nexus of the 1990s Chicago scene, he’s written more than 400 compositions and is featured on more than 70 recordings (including International Anthem’s very first, IARC0001, "Alternate Moon Cycles"). He’s led or co-led many ensembles – including the Chicago Underground (Duo, Trio, Quartet & Orchestra), Isotope 217 (alongside members of Tortoise), Pharoah and the Underground (feat. Pharoah Sanders), Alien Flower Sutra (with Emmett Kelly), São Paulo Underground (his primary working group across his time in Brazil), and a duo with Jeff Parker – each of which possesses its own distinct musical personality. While Mazurek’s solo work as a musician expands from cornet, piano, and piccolo trumpet studies to embody musique concrete and electronic experimentation, his composition for large ensemble reveals an intuitive sense of scale. Commissioned by the Chicago Cultural Center and the Jazz Institute of Chicago in 2005 to assemble a group representing the diversity of the city’s contemporary avant-garde, Mazurek amassed a 14-piece ensemble and began composing music for what became his Exploding Star Orchestra (ESO). Including musicians from the often-segregated communities of Chicago’s North, South, and West sides – from his long-time collaborators in Tortoise’s expansive orbit, to Great Black Music luminaries from the hallowed AACM, to free jazz revivalists from the Umbrella Music group – ESO debuted in the urban epicenter of Chicago’s Millennium Park and, shortly after, went into John McEntire’s Soma Studios to record "We Are All From Somewhere Else" (Thrill Jockey, 2007). By the time of "Galactic Parables Vol. 1," ESO’s 2015 triple LP release on Cuneiform Records, Mazurek reflected to Pop Matters that "Exploding Star Orchestra is the conceptual, compositional and philosophical center of all my work... a life star of musical, visual and conceptual ideas." In 2018, JazzFest Berlin curator Nadin Deventer invited Mazurek to present a new iteration of ESO with musicians based in Berlin as well as Chicago. Meeting the commission with the boundless ambition characteristic of his artistic approach, he imagined a jubilee of fifteen musicians and improvisers, true to ESO’s ethos in their widely diverse backgrounds and voices, but more tightly arranged around his intricate compositions than ever before. Summoning an array of symphonic studies – from Béla Bartók to Morton Feldman to Gil Evans to Sun Ra to Pedro Santos to Bill Dixon to The Art Ensemble of Chicago – in an ecstatic and wholly original program, Mazurek’s November 2018 debut at Berliner Festspiele marked a new pinnacle in his distinction as a composer and conductor of Contemporary Music. “Mazurek’s arrangements burst in colors, making synesthetes of us all,” wrote Paul Acquaro in a review of the concert for Free Jazz Collective. When Mazurek returned to Chicago in Summer 2019, International Anthem took the opportunity to capture his new ESO compositions with a cast of collaborators from their collective constellation of artists. Over a handful of studio dates between August 2019 and March 2020, Mazurek channeled his arrangements through 11 musicians – Nicole Mitchell, Jeff Parker, Jaimie Branch, Joel Ross, Mikel Patrick Avery, Tomeka Reid, Chad Taylor, Ingebrigt Håker Flaten, Macie Stewart, Angelica Sanchez, and John Herndon – and commissioned his long-time lyrical collaborator Damon Locks to draft original texts for each of the titles and record vocal tracks. After three months of rigorous post-production, editing and assembly work, in June 2020 Mazurek completed his culminating new collection of ESO recordings: "Dimensional Stardust." "Dimensional Stardust" showcases the intricacy and complexity of Mazurek’s compositions but in their most potent, most compacted forms. Opting to focus on tight ensemble orchestration over passages of open improvisation, Mazurek distills a maximal orchestra of explosive improvisers into a beautifully restrained, graceful group exercise in melodic minimalism. The album features almost no “soloist” moments, excepting Jeff Parker’s other-worldy guitar meltdown on “The Careening Prism Within,” and when Nicole Mitchell’s flute floats to the front of the barrage on “Sun Core Tet.” Mazurek himself is sparsely present as instrumentalist, only occasionally joining the ensemble with his piccolo trumpet (notably on “Parable 3000,” where he shares leads with Mitchell’s flute and Joel Ross’s vibraphone, and his trills and textures haunt ghostly around Jaimie Branch’s trumpet counterpoint). Even Damon Locks’s voice is employed more like an ensemble instrument than a lead vocalist. Locks’ distinctively dry, abstract narrative flow beams in intermittently – sounding almost like fragments of Deltron 3030 through an Orson Wells-style radio transmission – climaxing in the album-closing poetry of “Autumn Pleiades.” And all the way through, the electro-acoustic poly-rhythmic percussion section (Chad Taylor, Mikel Patrick Avery, and John Herndon) churns, thrusting the music forward as the harmonic instruments collectively bow between frenzied, futurist chromaticism and soaring, pan-humanist pentatonic anthems. Somehow swirling the most adventurous elements of avant-garde jazz and contemporary classical into the most universal attractors of pop music, the cosmic opera of "Dimensional Stardust" is a pure spiritual extension of Exploding Star Orchestra’s unifying ethos, and a new peak in the prolific creative career of Rob Mazurek. ***"Dimensional Stardust" is the second album co-released by the North & South American partnership of International Anthem & Nonesuch Records, following Jeff Parker's early 2020 release, "Suite For Max Brown." International Anthem & Nonesuch Records are slated to co-release at least 6 titles over 3 years, details on future albums TBA. Outside of North and South America, these albums are marketed & distributed by K7 Records.*** Rob Mazurek - director, composer, piccolo trumpet, electronic renderings, modular synth Damon Locks - voice, electronics, texts Nicole Mitchell - flutes Macie Stewart - violins Tomeka Reid - cellos Joel Ross - vibraphone Jeff Parker - guitar Jaimie Branch - trumpet Angelica Sanchez - acoustic piano, electric piano Ingebrigt Håker Flaten - bass Chad Taylor - drums, percussion Mikel Patrick Avery - drums, percussion John Herndon - drum machines https://intlanthem.bandcamp.com/album/dimensional-stardust

€26.00

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MCDOWALL, DREW

Lamina

Format: 6 x CD-BOX Year: 2023

This long-gestating box set of Scottish electronic pioneer Drew McDowall’s solo work takes its title from a technical term meaning ‘plate’ or ‘layer’ most often used in contexts either geological or anatomical: Lamina. He speaks of the compiling process similarly: “Digging into my archives felt like a mix of psychoanalysis and archaeology – uncovering buried things.” The six CD collection includes expanded editions of his four most recent Dais LPs (Collapse, 2015; Unnatural Channel, 2017; The Third Helix, 2018; and Agalma, 2020), alongside a disc of rarities (Undulations and Aberrations) and one of live performances (Entanglement). Taken together, it presents a definitive portrait of McDowall’s cryptic, questing artistry, forever seeking “that sense of stepping over a threshold.” The bonus material in particular is revelatory, broadening both the context and complexity of its respective full-length. “Palisades,” a Collapse outtake, patiently builds a mantric throb into a rippling cascade of head-nodding cosmic noise, like some glowing shrapnel splintered off the rest of the record. “Tell Me The Name (Alt Version),” a reworking of the eerie opener of Unnatural Channel, embodies McDowall’s goal for the compilation as “a window into the process of iteration.” More emaciated and reptilian than the original mix, the track shivers and shimmers in a reverie of alien melancholy, a corrupted file of some interdimensional hymn. “False Memory Demo,” from The Third Helix sessions, showcases the textural trial-and-error behind these compositions – a wobbly collage of seasick scrapings, sine waves, and tectonic circuitry, tested like source material in a lab. Similarly, an unreleased Agalma vault cut, “Cest,” captures the artist at the brink of breakthrough – a time-stretched drone traced in muffled voices and phasered haze dilates across five lysergic minutes. It’s the sound of a palette being refined, poised for deployment. The fifth disc spans two decades of stray recordings, from 90’s studio experiments to lost comp tracks to sold-out tapes, modular oddities, and rhythmic sketches. Sequenced chronologically, it demonstrates the zig-zagging evolution of McDowall’s sound, colored by formative years collaborating in Coil but extrapolated into freshly forking paths: industrial dub, icy downtempo, tonal devotionals, hexed gamelan, interstitial murk. The suite of live sets, too, is essential listening. He describes his inclusion criteria as performances that fuse “the sacred and the feral, like you’re in a cathedral but the floor is dirt.” All four recordings are rich and unhinged: a spiraling, seething, somber voyage for Ascetic House and Mount Analog’s’s dark experimental series, Nuit Noire; a jagged, dissonant excerpt from his Collapse release show at New York venue Alphaville; a fractured, psychedelic rendering of “Agalma III” for Root Radio’s Exist Festival live stream; and a delirious, magisterial take of “Agalma I” for the Agalma release party at Strange Editions, produced by Quo Vadis (his ambition for which was “to mirror the pandemic-related ontological feeling of being suspended in mid-air”). Despite its duration, Lamina is a leanly plotted survey, devoid of dead weight. Few artists as omnivorous as McDowall are also as self-editing – his standards are rigorous, and revealing: “While working, I’m always changing things, hacking them away, abandoning them when they don’t work. When listening back I’m looking for a sense of awe and wonder. Otherworldly magic. If I’m not hearing that, I don’t see the point.” https://www.daisrecords.com/products/drew-mcdowall-lamina

€38.50

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MCFALL, CHRISTOPHER & ASHER

An amber hollowed Night

Format: mCD-R Year: 2010

"a multi-layered track created by two prolific and very talented us sound artists. christopher mcfall first issued a bunch of netreleases on respected labels such as alg-a, conv, earlabs or test tube then physical releases on entr'acte, 1000füssler, mystery sea or sourdine (asher's label). he likes to collaborate with other sound artists too (with ben fleury steiner or more recently with luigi turra on mystery sea's sister-label unfathomless). he's known for his rich soundcsapes full of treated field recordings. asher's output shares many labels with his partner (earlabs, conv, homophoni, mystery sea, and/oar...) and also produces multi-media dvd releases... here's what christopher mcfall says about this track made with four hands: "this release is entitled 'an amber hollowed night.' the reason i proposed this title is that it accurately describes the feelings and environment that i was experiencing when I was assembling the tracks that comprised the final multi-track format. i was composing late at night in my studio and then taking the work that i had done for any particular evening and walking with it in the streets of kansas city to listen and access the results. effectively, this collaboration came to fruition as a result of asher sending me piano fragments taken from a series of recordings entitled 'passages' that was recorded in vermont in 2007 and audio from an installation entitled 'materials for spaces'. i worked extensively with these tracks and combined them with a series of field recordings that i had compliled and recorded to treated tape. the source material for the field recordings were primarily from the train yards here in kansas city, whereby the digital field recording was eventually transfered to treated audio tape. the individual tracks were then manipulated more in the computer and multi-tracked together to form the final recorded track. these recordings were compiled and rendered into 'an amber hollowed night' in the fall and winter months between 2007 and 2008." [label info] www.taalem.com "The final new release is by Christopher McFall and Asher, both highly active with numerous releases in various formats (mp3, CDR, CD). They both have sound input, Asher gives his piano music and McFall field recordings from Kansas City. In the first stage the sounds were treated on tape and then later on the computer. Its probably exactly the kind of piece you would expect from them. Hissy, low in volume, but also highly beautiful. I don't think it adds that much to what you may already know from either of them, but as so often with things like this, that hardly matters. People like McFall and Asher have carved out a very specific sound of their own and work within that very well. A highly atmospheric piece of music." [FdW, Vital Weekly]

€5.00

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MEAT BEAT MANFIESTO & MERZBOW

Extinct

Format: CD Year: 2024

Cold Spring is proud to present a unique collaboration between Industrial Breakbeat pioneers Meat Beat Manifesto (Jack Dangers) and the undisputed king of Japanese noise, Merzbow (Masami Akita). "We may not speak the same language, but in the vortex of sound, there's a raw, primal understanding that transcends words. Noise can be art, a visual representation could maybe be Jackson Pollock's No 5, a plexus of chaos redefining what music can and could be. Pushing boundaries with Masami wasn't just a musical adventure, it was a masterclass in sonic anarchy" (Jack Dangers, January 2024). 'Extinct' sees the duo take listeners on a transcendental journey, focusing on the dismantling of beat and structure and recycling the result through layers of beautifully crafted noise and feedback loops, giving birth to new rhythms buried deep in the dirt. The 20 minute opener 'FLAKKA' takes constantly evolving breakbeats which are gradually broken down over time, driven through a filter of harsh noise, destroying the old to give birth to the new. Raw and unforgiving, the track is a behemoth that blends mutant forms of broken beats and hints of dub, creating rhythmic noise of the highest calibre in the process. 'Burner' takes the record to its ultimate conclusion, the initial drum beat broken down so that it is barely recognisable. Pulsating distortion and high end audio fragments bleed into each other as the track lumbers forth and destroys everything in its path before slowly unravelling, degrading and falling apart. A harrowing yet somewhat cathartic trip through walls of harsh industrial noise and audio degradation, 'Extinct' is a masterful pairing of artists who have delivered something truly unique yet totally relevant. Don't sleep on this one! (Todd Robinson / Subunit). • CD in matt-laminate, flood-printed digipak. • Ltd Ed LP: 300 copies on red vinyl in matt-laminate sleeve (via Cold Spring only). • Black LP in matt-laminate sleeve. Composed, recorded and produced November 2023 - January 2024 by Jack Dangers and Masami Akita. Art by Abby Helasdottir (Gydja). VIDEOS (YouTube): '¡FLAKKA!' by Jack Dangers: bit.ly/MBMMerzbow-FlakkaQR (WARNING: NSFW!) 'Burner' by Jack Dangers: bit.ly/MBMMerzbow-Burner Album teaser by Abby Helasdottir: bit.ly/MBM-Merzbow

€15.00

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MEAT BEAT MANFIESTO & MERZBOW

Extinct

Format: LP Year: 2024

Cold Spring Records present a unique collaboration between industrial breakbeat pioneers Meat Best Manifesto (Jack Dangers) and the undisputed king of Japanese noise, Merzbow (Masami Akita). "We may not speak the same language, but in the vortex of sound, there's a raw, primal understanding that transcends words. Noise can be art, a visual representation could maybe be Jackson Pollock's No 5, a plexus of chaos redefining what music can and could be. Pushing boundaries with Masami wasn't just a musical adventure, it was a masterclass in sonic anarchy" --Jack Dangers, January 2024. Extinct sees the duo take listeners on a transcendental journey, focusing on the dismantling of beat and structure and recycling the result through layers of beautifully crafted noise and feedback loops, giving birth to new rhythms buried deep in the dirt. The 20-minute opener "!FLAKKA¡" takes constantly evolving breakbeats which are gradually broken down over time, driven through a filter of harsh noise, destroying the old to give birth to the new. Raw and unforgiving, the track is a behemoth that blends mutant forms of broken beats and hints of dub, creating rhythmic noise of the highest caliber in the process. "Burner" takes the record to its ultimate conclusion, the initial drum beat broken down so that it is barely recognizable. Pulsating distortion and high-end audio fragments bleed into each other as the track lumbers forth and destroys everything in its path before slowly unravelling, degrading and falling apart. A harrowing yet somewhat cathartic trip through walls of harsh industrial noise and audio degradation, Extinct is a masterful pairing of artists who have delivered something truly unique yet totally relevant. Composed, recorded, and produced November 2023-January 2024 by Jack Dangers and Masami Akita. Art by Abby Helasdottir (Gydja). https://coldspring.bandcamp.com/album/extinct-csr330cd-lp

€23.50

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MEELKOP, ROEL

4 Propositions

Format: CD Year: 2002

"Roel Meelkop's musical activities date back to the early 1980s when he started influential group THU20, with Jac van Bussel, Peter Duimelinks, Jos Smolders and Guido Doesborg. The working method of THU20 included many discussions about how to compose and why. This period was crucial in forming Meelkop's ideas and concepts about sound and how to organise it, but it was not until the mid-'90s that he was able to fully realise these ideas. The purchase of a sampler and later a computer radically changed his possibilities of working with sound, offering infinitely more control and freedom. Since then he released works on such labels as Trente Oiseaux (Germany), Staalplaat (Netherlands) and Intransitive (US). His other activities include working as a member of both Kapotte Muziek and GOEM with Peter Duimelinks and Frans De Waard and organising sound events in Rotterdam. Aside from releases, Meelkop also creates site-specific sound installations, often in collaboration with other artists and has performed live around the world Microsuoni.it). This is the first release for the fledgling Tariff Records of Los Angeles, California." [label info]

€14.00

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MEERKAT

Kapnos

Format: CD Year: 2009

"In 2003 Maurizio Bianchi and Matteo Uggeri / Hue met through Afe Records; three years later Maurizio asked Matteo for a musical collaboration, which grew up quickly under the design of a long term project called "Between the Elements", a sort of music transposition of concepts that lies in the empty spaces between the natural elements, which are over-abused terms in the New Age music scene. Two albums were published in 2008: one about the concept of "clouds" ("Nefelodhis", by MB and the post-rock band Sparkle in Grey) and one about the concept of "desert" ("Erimos", by MB with Hue and Luca Bergero / Fhievel). One year later, the third chapter entitled "Kapnos" – Greek for "smoke" - is finally available. The industrial master contributes to back notes and concept, but keeps his hands far from the musical matter, leaving it to the expertise of ten of the most interesting experimental musicians of the Italian scene, united under the cryptic name of Meerkat. The Meerkat ensemble is formed by a group of musicians working in the field of experimental music, drones, microsounds and field recordings: Adriano Zanni / Punck, Matteo Uggeri / Hue, Luca Sigurtà, Luca Bergero / Fhievel, Davide Valecchi / Aal, Andrea Ferraris / Ics, Fabio Selvafiorita, Paolo Ippoliti (Logoplasm), Laura Lovreglio (Logoplasm) and Andrea Marutti / Amon / Never Known. The tracks on "Kapnos" present a surprising homogeneity in spite of the different attitudes of the artists, which mixed their experiences in each track creating new unforeseen connections, working in pairs or in threesome on each track. The Meerkat members also joint their efforts releasing the CD, which is in fact published by Afe (Andrea Marutti), Grey Sparkle (Matteo Uggeri), Nighthawks Tapes (Paolo Ippoliti) and Ctrl+Alt+Canc (Adriano Zanni). Under these premises, "Kapnos" represents an unique effort in the swarming Italian music scene of the '00s." [label info] "...The music is excellent - a fine mixture of styles and interests from these guys. All the elements one would expect are there, the field recordings, drones, ambience, microscopic detailed sounds. Great stuff here." [FdW / Vital Weekly] www.aferecords.com

€12.00

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MEIRINO, FRANCISCO & KIKO C. ESSEIVA

Focus on Nothing on Focus

Format: LP Year: 2013

"A unique work stemming from a studio collaboration between Francisco Meirino and Kiko C. Esseiva. Using the same source material each artist composed one side of the LP. Assembled in 2012 and 2013 from hours of multitrackrecordings using reel-to-reel tape recorders, emf detectors, piezo transducers, analogue synths and various homemade sound objects. Discover, compare, enjoy the work of these two sound artists ! High Quality 180g Vinyl with excellent sound - not at least due to the cut done by Flo Kaufmann. Numbered edition of 300 copies." [label info] www.aussenraumrecords.com "Whether it’s relevant or not I don’t know, but immediately before listening to Focus on Nothing on Focus by Francisco Meirino and Kiko C. Esseiva in order to make notes for the final review, I watched a documentary about Joy Division. The record is a 12″ vinyl black void with a black label which you might think is a precursor to the abyssal darkness contained within. In fact after Joy Division’s bleak visions born of greyscale Manchester streets steeped in rain and the bedroom’s so cold, you turn away on your side, it was a relief to enjoy some movement, vibration and a surprising selection of fleeting semi-colours. four men on a bridge Assembled in 2012 and 2013 from hours of multitrack recordings as a duo, each artist was given one side of the record to present his individual composition using the original material as the building blocks. As the first release on Andreas Unterkircher’s Ausenraum label, the black and white cover picture of electrical equipment cut up and interrupted, repeated and sliced, slid out of place and readjusted, then partially contained within a perfect circle seems an apt metaphor for the processes etched into the grooves here. she filled her time pushing the pram round Salford There is an interesting YouTube video of Meirino and Esseiva playing together as a duo in an art gallery or something similar. They are set up against a side wall on a long table next to each other. Various people are seated in the white space, others walk in and out informally. Being able to see all this taking place, the physical approach of each artist is interesting and illuminating and offers some understanding into why each side of this LP sounds as it does. tear us apart Meirino stands bent over his black boxes of plugs and wires activating switches and summoning up raw electrical bleed and grime from the insides of these dark objects. He turns a torch on and off at intervals, and the completion and termination of the circuit is heard as a visceral thud. Essevia remains seated at his desk and, amongst other things, manipulates a tape recorder thoughtfully and subtly, reacting and operating within and against the bodily groundedness of the sputtering sound shrapnel exhibiting a concentrated intelligence and sense of purpose. Whether this performance formed part of the substrata from which this LP was carved I don’t know, but it is certainly an informative document. it’s a picture of a tomb For me all Meirino’s music seems to exist in a landscape with enhanced perspective and a very remote vanishing point: In other words the sounds are stretched out from incredibly distant thuds occurring below the horizon to crackles and clicks right up against the eardrum, as if generated inside the speakers themselves independently of anything else. growling like a dog Meirino places us on a ship negotiating a sea of fluctuating plasma. Creaks and groans from the rigging and the swell of undulating static gives way to scuttling creature in the hold. Early on a filament of light, a laser emission like a bowed violin note repeats a few times as a vestige of the sun’s benediction. Later, work of some secret nature takes place. Something rattles back and forth along rails as machines hum. Excited wings vibrate against the microphone and objects drop and roll across the hard floor. People talk, but the men’s voices are rudely cut off and are no more. A crescendo of metal and tooled desolation builds from nothing to form a rattling, prison riot cacophony then… suddenly we are in some dead pond where the water (or some other analogous fluid) carries sounds from afar. Unknown denizens of this inky pool signal to each other ever more frantically, again a crescendo… Nothing… Nothing… Nothing… Run-off groove… Ian’s dead Esseiva is an artist I have never heard before. Seemingly his compositional hand is more controlled than Meirino’s and the work focuses more closely on fewer competing strands. This approach yields a completely different experience, yet obviously both sides of the disc are united by their common provenance. Differences aside each promise is fulfilled in its singular entirety. I came off the phone and went back to the table Kiko C. Esseiva pledges breath and motors and grinding gears. A ribbon of steady sound unfolds and fades just once. This is a workshop in which the instruments that make this music are being built, and the very building of them is the music itself, and after they have finished playing, the dismantling of them is also the music itself. Sheets of steel and other substances are beaten in frantic rapidity. Tiny hammers pound. Insectoid nano-mosquitoes plague the workspace. Cut. Fibrillating electricity. Cut. A buffeted wire fence with mechanical animoids squeaking and chirruping in iron filing nests. Steel wool ruffles and frazzles. Cut. Dead air. A ball bearing rolls around an uneven plane causing other objects to become infectiously agitated and inexplicably animated. An organ plays itself, just once. Vibrating glass planes, jars, flasks and light bulbs. Cut… Near silence… Readjust to the tiny flecks of vinyl crackle not being part of the whole… And yet in a way they are… It all is… Run-off groove… Click… Click… Raise the needle. unknown pleasures" [Chris Whitehead / Sonicfield]

€16.00

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MELT FAMAS

Serial Weather

Format: 10inch Year: 2011

"MUSIKZIMMER LABEL: The label Musikzimmer is based in Aarau (Switzerland) and Berlin. It was born with the idea of giving birth to music not only in a ethereal way. We want to materialise what we like. We want to produce, to touch and to spread it. It all started 21 years ago with one of the first „independent“ exhibition spaces in Switzerland, the Kunstraum Aarau. Since approximately 7 years we focus on soundart and sound related site specific interventions. And because not every manifestation finds its form in a frame work of an exhibition, we started to organise concerts and offer now a stage without stairs to concertant situations. To can those situations as long as possible we decided to cut them into vinyl. MELT FAMAS – serial weather is the first conserved situation. It will be followed by a 10“ of chained melodies by RM74. The concept is simple. 10 inch, 1 cover version and the cover sleeve is designed by an artist who does not play on but maybe with the record. MELT FAMAS: When the movement of a terrestrial object around a static point is repetitive, we talk about oscillation...When two people oscillate around several electric devices according to a nearly repetitive movement, we talk about rock‘n‘roll. At Melt Famas, during the supper, we talk about oscillations, aquatic rock‘n‘roll. Dessert comes when the table has already been cleared. In the living room, guitar screams exhort to indiscipline, and voices invite to the reconstruction of a new order. At Melt Famas‘, codes are made for others. According to the stars position, the degree of gravity and the level of caffein of the last tea, sounds meet under the fingers until dizzyness spreads, and invite us to an immobile trance. Fred Billet and Nicolas Magot, or l‘invitation au voyage with a one way ticket. FRED BIGOT: (aka Electronicat) The root of Fred Bigot‘s music is in guitar. The way he makes music is all related to the way he plays guitar, including imperfections, lo-fi sound, noise, melody and the practice of improvisation. The distorted but melodic guitar, the unquantised rhythms, the delay-heavy vocals and the buzzing rumbling 808 bass drum all became characteristic features of the Electronicat sound. His songs encompassed an array of influences in all respects - particularly glam rock, psychedelia, 60s garage rockabilly and experimental electronic music - and took it further making electronic music sound more rock n roll and vice versa. To date he has released numerous albums and singles on international labels (Holy Mountain, Onitor, Disko b, Optical Sound, Ldrr). He has produced tracks for pour Beans, Miss le Bomb, Marina Ribatski (ex- Bondo de Role), remixes for Depeche Mode, Numbers, Bretzel Göring. Fred played all around the world alongside with artists such as Felix Kubin, Stereolab, Adult. He has collaborated with numerous artists and musicians, building up an impressive resume that includes projects with musicians J.G Thirwell, Gerhard Potuznik, Khan and contemporary artists Nicolas Moulin, Anu Pennanen and Pauline Curnier-Jardin. NICOLAS MALLET: After having visited experimental and post-punk music, Nicolas Mallet turned into Nicolas Metall. Melodies in minor chords, Bach is never far. Keyboards, guitars and rhythms. He plays with Fred Bigot (Electronicat) in Melt Famas, with Marie Germinal in a rock-post punk style, he has organised events and works with artists and dancers (Nicolas Moulin, Marie Reinert, Olivier Dohin, Grégoire & Elise Charbey, Clémentine Roy). His most recent Release „ Growing Ideas Of Falling Generations“ is a Double Vinyl on Nicolas Moulin Label „Grautag Records“. „Growing Ideas Of Falling Generations, as the first double LP of Nicolas Metall, has to be heard as the psychoanalysis of the Space Odyssey computer HAL 9000. Electronic-wave music to dance on a russianÕs suburb discotheque dancefloor or to listen to by staring at the sunset , The 2nd release of the berlin-based label Grautag records“ (Grautag Records)" [label info] www.musikzimmeraarau.ch

€12.00

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MELVILLE

17 TV Themes

Format: do-CD Year: 2005

“2 x 17 masterpieces as a soundtrack for the cinema in your head and beyond: The hammering automatic rhythm of an Elka organ introduces us to Melville's film-music masterpiece, slowly moody echo-laden guitar lines, spooky keyboard chords, honey sweet theremin-sequences and lascivious female voices add to a "Blues noir", melodic and harmonic fireworks of references build up and make clear where we are. The cineastic escapades of the 50s and 60s and their heroes salute you: Alain Delon, Brigitte Bardot, Jean Paul Belmondo, Lino Ventura, Gina Lollobrigida, Sophia Loren, Michel Serrault… all these stars are cast for this sparkling masterpiece on celluloid, which is neither B-movie nor blockbuster, but rather builds up to something new each time you listen to its soundtrack. Melville sets straight limitations to his genre, but he gives his listeners the freedom to choose: What used to be a horror movie in the vein of Dario Argento yesterday might be the diary of a psycho killer in the 50s in moving pictures. Melville produces soundtracks, soundtracks for the cinema in your head. He invites each listener to direct his own movies, to trip on Melville's soundwaves depending on what mood you are in. While film connoisseurs will be thrilled and find clear cineastic references, the living room of the average listener will suddenly smell of gun powder and lead while a francophile gangster blonde will aspirate erotic confessions. The second CD of the album is an image of the first one. It contains the exact order of tunes as the first CD but interpreted and remade by artists chosen by Melville. These artists come from all musical genres, ranging from earthy blues to avant-garde electronics and metal: The (ethno-)pop-project Binder&Krieglstein from Graz follows the Viennese avantgarde composer Jürgen Hofbauer, Reflector's doom laden metal stands next to Peter Plessas' innovative electronics, "New York-certified" theremin godess Dorith Chrysler and some acts from the avant-garde label "tonto", blues guitarist Christian Masser is followed by the minimal electronic freak marufura fufunjiru and Mego-darling Dr. Nachtstrom. An opulent array of innovative artists which clearly appreciate the genius and the brilliancy of the original.” [Soul Seduction]

€16.00

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MENCHE, DANIEL

Radiant Blood

Sold out

Format: do-CD Year: 2012

"To say that this has been planned for some time would be a bit of an understatement. The original Age and Transformation was released by Darren Tate in 2004 on his own Fungal imprint (and issued again in 2005). Both were released as CDRs in editions of 100 copies. Around 2006 the subject of doing a reissue was discussed, and discussed/planned/discussed, and now 6 (six!) years later Age and Transformation with an exquisite Colin Potter remaster along with an entirely new piece, Aged and Transformed remixed from the original is just about here. Darren's work has always been that of a drone eccentric, and proof positive of that is the micro-editions released since 2003 on his own Fungal Records. True modern-day psychedelia, drawn out drone excursions, electric guitar scraping and expansion, synth noodling harbored into small private recordings for the chosen few. The limited number of those exposed to Darren's view, which was not intended to be exclusive, just small updates as to where/what was happening with Darren in terms of gear, mood and circumstance. There is an inherent feel that little editing takes place, just captured recordings with the reel-to-reel on. Tate has worked extensively with other collaborators: Andrew Chalk (together known as Ora), Colin Potter (as Monos), Paul Bradley, Andrew Liles, and Ian Holloway to name a few. Collectively a solid block foundation of great U.K. drone artists. In a collaborative setting, there may be a bit more judicious editing employed for better (or for worse) depending on where one sits in appreciation of refinement over improvisation. Which brings us to Age and Transformation. Two tracks, both around the half-hour mark and presumably recorded in one take each. The first track ('Untitled') contains all elements of what makes a Tate recording effective: gentle guitar scraping, echoed city recordings, air vibrations oscillating an overall nocturnal hush that shrouds the whole piece. The second track (again, simply 'Untitled') is undoubtedly one of Tate's finest solo moments. A defining impressionistic recording captured in the middle of the night. It opens with the sound of a freeway , a very distant light traffic flow filtered through the forest. A lonesome organ sonata, languid chords with silence in between weave in and out at various points throughout. Tate sitting by the window capturing the sounds of the freeway, voices, haunting arias both human and industrial. The second disc is a reworking by Colin Potter. Extracted from the quiet of Age and Transformation, the first track 'Aged' is an encapsulation of the entire recording with the small dervishes, organ melodies and drone wrapped up in an almost tidy nine minutes. The second, 'Transformed,' is over 40 minutes of water tower acoustic sustained tones, layered subtle guitar hum... a perfect complimentary refinement on a classic ambient improvisation." [label info] www.infractionrecords.com

€16.00

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MONTGOMERY, GEN KEN

Drilling Holes in the Wall

Format: CD Year: 2007

"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

€13.00

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MORGEN WURDE

Für Immer

Format: do-CD Year: 2020

"Morgen Wurde and his musical allies move on to score the unfathomable wonder of the Dasein. "Für Immer" is a further breakthrough to the core, emanating sounds which let dissolve all conceivable questions of man about life and death. Sounds that let all questions appear negligibly. The immersive finds are channelled into ambient/space/drone music hybrids with neoclassical and jazz noir elements, sometimes crossing paths with messengers of transcendental sounds like Abul Mogard, bvdub, Fennesz, Gas, Rafael Anton Irisarri or Tim Hecker. The elevating experience happens in Morgen Wurde's electroacoustic spaces, hosting singular virtuoso instrumentalists. Creating the "Morgen Wurde" form of lyricism and haunting soundscapes, this collaborative exploration takes space music to new highs. There are the stoically undulating sound masses, like the ambivalence of the awe-inspiring mysterious forces of nature, sometimes majestic, sometimes threatening. And there are the soloists, wandering through these sonic landscapes as masters of their art: Doug Perry on the vibraphone and Tetsuroh Konishi on the trumpet embody subtle sublimeness. The violinists bring in widely differing styles: David Strother skipping ardently on top of the seething sound masses, Georges-Emmanuel Schneider forming a mystic amalgam with the underlying soundscapes. Maria Estrella's transcendent vocal texture, nestling in solemn spheres, marks the epic finale. These musicians bring unique elements of life and humanity to the recordings, adding their very personal note and vision. The rich material called for addressing also the body. Artists from around the world answered this call for cosmic dance remixes: Altone (Japan) initiates the rite with his transcendently free-floating remix, incorporating sounds from various album tracks. Roman Ridder (Germany) then sparks the dance with a deep dub techno ride. Liuos (Finland) irresistibly animates the body further into a trance, before Cie (Germany) breaks loose the passionate fire of rave. Lostlojic (Ukraine) upholds the energy of peaktime techno, before Dmitriy Zakat (Russia) navigates through an absorbing bass intermezzo, followed by a sweeping post-dubstep adventure by Sébastien Job (France). Martin Schulte (Russia) pursues the explorative mission driven by minimal tech breaks. Thereupon Johnnyx Guitar (Germany) deepens the tempting occult spirit of the venture. Duckem (Greece) leaves the traveller with moody trip hop in a Blade Runner-style bar, before we come full circle with the beat version of Altone's remix, reaching out to eternity. Like all the best remixing work, these tracks are not intended as alternative versions of the originals. Rather the remixes can be considered originals of the respective artists who drew sounds and vibes from the "Für Immer" originals. This is the third album in the series of Morgen Wurde's electroacoustic sound processing-based albums, following “Brach Auf” (2016) and “Assassinous Act” (2017) which were released on Time Released Sound, Alameda. Besides, there are two albums “Letzten Endes” (2015) and “Als je zuvor” (2018) (both on Off Rec.) which were composed classically on the piano and then clothed with electronic sounds." https://morgenwurde.bandcamp.com/album/f-r-immer

€15.00

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MORI, IKUE & CHRISTIAN RONN

Chordis Et Machina

Format: LP Year: 2018

"Ikue Mori and Christian Rønn are the superlative electroacoustic duo, well “duo” unless you count the instruments themselves and you should. Rather than contain with rigid composition, these twin masters of unrule remain radically attuned, open to resonance of time and sound, invoking even the personhood of space and object, chordis et machina. You´ll soon see, once this music gets loose to join you in your own environ. “Endless probing that hooks into your neurons, this album leaves sonic organisms floating around you. Even if that's merely an illusion, the alchemy of Mori and Rønn’s hyperactive stew is very real.” [Marc Masters] No meandering muddiness, the precision and responsiveness of this heady collaboration steps swiftly from fine grit distortions to leaky sinewaves, sweeping from the playfully melodic to the seriously xenomorphic. As prepared-piano hammers against braiding electronics, each possibility unfurls the next. Tossed from the final groove, you'll hike up your needle and want to plunge right back in. About the artists: Ikue Mori's impact as drummer of post-punk pioneers DNA found an unexpected path when a drum machine set alight her astonishing oeuvre in electronic music, both solo and in collaboration across 30+ albums in bands like Death Ambient, Mephista and in collaboration with John Zorn, Okkyung Lee, Zeena Parkins, Sylvie Courvoisier, Susie Ibarra, Wadada Leo Smith, Fred Frith, Kato Hideki, Evan Parker, Dave Douglas, Evyind Kang, Craig Taborn and Kim Gordon. Copenhagen's Christian Rønn is renowned for his electronic and organ improv music, his filmscores and performances on more than 20 albums, collaborations with Rhys Chatham, Peter Peter, Lotte Anker, P.O. Jørgens, Ingrid Chavez, Vanessa Daou, Jenny Graf, Bob Bellerue, Aram Shelton, his group projects Prox, Panser, Blind Mans Band and his popular solo project, Ganga. (Written by James Decker, Resipiscent Records)" https://nische.bandcamp.com/album/chordis-et-machina https://www.resipiscent.com/artist/view/50

€23.00

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MØHR & MAEROR TRI

Hafenstadt

Format: CD Year: 2015

" On “Hafenstadt”: This music was originally planned to form a part of the third tape box in the MØHR interpretation series of ZNS TAPES. In this series different artists got an individual 30-minutes-piece of basic material by MØHR to be interpreted it in any way: Using it as a backing tape and adding some more tracks, getting inspired and doing something unique in the spirit of the basic material, deconstruct and arrange it anew. The invited artists had any opportunity to re-work the source material. For the actual release the basic material was placed on side A and the interpretation on side B, enabling the listener to compare the basic and the final sound. Three tapes were compiled as one tape box linked by a loose theme. The first box, Bürokratie, contained works by DAS KONZENTRAT, BESTATTUNGSINSTITUT and SUICIDE COMMANDO (released in 1990), the second, Kulturschock, contained works by ANDREW CHALK/DARREN TATE, ECTOPLASMIC EMBRYO EXPERIENCE and FLAGRANTs D’ELI (released in 1991). The third one, which was to contain Hafenstadt by MAEROR TRI (as well as material of PBK and THE HATERS), has never been released due to the sudden end of ZNS TAPES. We’re convinced that this combination of basic stuff plus musical reworking is still an interesting and exciting experience for the audience, maybe especially after more than 20 years in the archives. (Andreaz Vogel) MØHR biography MØHR existed between 1986 and 1994 as the solo project of Andreaz Vogel. Previously he had been active as a bass player and drummer in various post punk and noise rock groups.Since its inception the main aim with MØHR was to create a dense and energetic sound without the use of conventional instruemnts. With this wall of sound the listeners were almost under attack and forced into a dark and brooding listening environment, both on the recordings and in the live situation. Andreaz also ran the important tape label ZNS TAPES. MAEROR TRI biography MAEROR TRI existed from April 1988 to the end of 1996, coming from the very north-western part of Germany. The three members were influenced by (post) industrial, noise rock and experimental ambient and found a way to establish their very own drone based style, using often guitars but also other instruments plus all kinds of (self build) objects and masses of sound effects. Their symbol, the triangle “Wheel” stood for ‘consciousness’, moving & shining in different colours and speed. The sound was meant as a tool for the listener to open the mind for transcension & sensitization: ‘We want to transmit a total openness, the bursting and overcoming of all mental barriers, the breaking out of the enforced subject “Tunnel-Reality” of modern society. ‘ Out of MAEROR TRI evolved the projects TROUM and 1000SCHOEN that are still very active." [label info] www.aufabwegen.com www.aufabwegen.com "Mohr was the work of German avant tape-machinist Andreaz Vogel who ran the ZNS Tapes label in the late '80s and early '90s; and our introduction to this work dates way back to the very second Drone Records single, released in 1993. This was about the time when Vogel pretty much called it quits on sound construction; but given how many great artists had been introduced through the Drone Records series of singles, Mohr's work had always been intriguing even as it had been quite elusive in the global cassette underground at that time. By the end of Mohr's tenure, Vogel had embarked on three mail-art pieces in which various audio sculptors and sound destroyers would rework / deconstruct a 30 minute track from Mohr. The second in this trilogy was notable to those Andrew Chalk enthusiasts as an unknowable Ora cassette from 1992. The third - and never released - cassette was to include Maeror Tri, The Haters, and PBK. With Hafenstadt, we now have a glimpse back into the gristled, contorted, and mangled tape construction that Mohr had been producing in conjunction with a pretty stellar set of black hole implosion of x-ray drone courtesy of Maeror Tri. Vogel took something of a Fluxus approach to his industrially bent constructions, purposely avoiding musical instruments in favor of the found sound that got flung into orbit in a spiraling descent of his tape loop dub and squeaky wheel rhythmic errata. These are deliberately raw and malformed cyclical patterns for a DIY musique concrete. Maeror Tri's brain-crush of sustained reverb and backwards masked flares of dark energy bury much of the insistent hypnosis from Mohr well beneath their grim wall of leaden noise and nuclear winter drone. It's always a wonder to behold the early works from Maeror Tri, and here it's nicely paired with Mohr's mangled hypnogogia." (Aquarius Rec)

€13.00

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MUELLER, JON

Strung

Format: LP Year: 2008

JON MUELLER auf Abwegen: Für seinen Beitrag in der Guitar-Series von TABLE OF THE ELEMENTS muss der Perkussionist auch an die Gitarre - und begeistert mit einem kraftvollen, loopig-hypnotischen Track... klares Vinyl ! "Peripatetic composer, performer, improviser, and designer Jon Mueller is a busy guy, and both the rock and experimental music scenes are the richer for it. As a drummer, he propels the ecstatic whorl of Collections of Colonies of Bees and the occasional guitar army of Rhys Chatham; alternately his solo project, Metals, is the most harrowingly intense percussive barrage you'll ever encounter. He also finds time to collaborate with artists ranging from Wilco's Glenn Kotche to Swans' Jarboe. Whether it's minimalist bombast, free-improv interplay, or electro-acoustic finesse, Mueller's got it covered. But what can he do with a guitar? In Strung, Mueller doesn't play the guitar; he scrambles its molecules. Laying down a photon-blast of sound, he initiates a relentless, rapid-pulse attack signal that summons wave upon wave of white noise. Think inexorable alien invasion -- The Day The Earth Stood Still, with Lou Reed as Klaatu and Metal Machine Music as the message. Earth doesn't stand a chance." Pressed on clear vinyl with great Savage Pencil etching on the b-side." [label info] "Already noted before: Table Of The Elements love Jon Mueller, and who doesn't? Here he leaves the drum kit for what it is and plays guitar, as an addition to the labels Guitar Series Vol. 3, an one-sided LP (the other side has an etching, which is a bit hard to see in transparent vinyl) of Mueller playing the guitar as if it was a mechanical beast. Perhaps with rotating blades? A ventilator? Mueller cuts out, in a rhythmical manner, sounds and thus one strum arises, repeated, until the full guitar orchestra falls in, with full blown drones. A very consistent idea that is worked out well, and makes this sound like a great album, coming from a great tradition: from Lou Reed to Glenn Branca to Earth. At the same time it also sounds like a Mueller record, with amplified hums. Perhaps a bit too short, as this seems over before it has properly started, it seems. The built-up takes some time because it keeps shifting back and forth, adding a strange movement to the piece. This is a great record, showing a new side for Mueller I think." [FdW / Vital Weekly] www.tableoftheelements.com

€16.50

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MULTER

Köln 4/11/2006

Format: CD-R Year: 2016

"One of the best known unknown artists of the german experimental hard-to-classify scene publishes here this document of a one track concert, recorded at the Kulturbunker, Cologne during a concert series organized by Till Kniola / Auf Abwegen in Late 2006. The trio of Neidhardt (guitar/Amps), Geiter (keyboards, live mix) and Hoeschen (field recordings, live mix) performed in their unique style what can be loosely described as memorable post-rock drone. A piece which just keeps growing and developing for close to an hour. The last full length release by [multer] was the sound installation soundtrack ‘Berge Im Bunker’ (consouling sounds, 2011) which was prefaced by the marvelous but vinyl only ‘Kopenhagener deutung’ album (genesungswerk, 2003). Next year shall bring a release of a studio version of this track as well as other projects concluding with the publication of entirely new material and accompanying live performances. For those interested what happened between [multer] activities there is the meanwhile impressive back-catalogue of Hellmut Neidhart aka ‘N’ solo and also releases on Thomas Geiter’s own label inselkind-schalltraeger worth more than a listen. Issued as a limited & numbered cdr with special artwork directed and produced by [multer] and as an unlimited digital dl." [label info] https://klappstuhl.bandcamp.com/album/k-ln-04-11-2006 "Klappstuhl Records zeigt sich, nach ersten Anzeichen 2012 und 2013, seit 2015 zweifelsfrei wiederbelebt, ohne merkliche Gesinnungsänderung zur kassettentäterischen Vorgeschichte in den 80ern (& 90ern). Köln 4 | 11 | 2006 (SP 012, CD-R) wirft nun sogar ein halbes Pfund in die Waagschale. Durch ein silbernes Cover aus Eisen. Zu hören sind, live im Kulturbunker, Thomas Geiter: keyboard, mixing, Mal Hoeschen: fieldrecording, mixing & Hellmut Neidhardt: guitars, amps, Letzterer einschlägig bekannt als N, die drei gemeinsam als [multer]. Sie tasten sich mit blasender, wischender, dröhnender Vorsicht voran. Dröhnend? Es ist das fast ein Singen wie von einer Harmonika, ein sublim changierender Silberstreif am tief gelegten Kulturhorizont. Ein knatternder Helikopter unternimmt einen Aufklärungsflug. Kleine Alltagsgeräusche, Schritte, Vogelschreie, Entengeschnatter, Glockenspiel und Turmuhrschlag oder erst glucksendes, dann anbrandendes und lappendes Wasser akzentuieren als Einsprengsel der Welt da draußen das langwellig sonore, surrend noch unterstrichene Fürsichsein in einem Tagtraumzustand. Ein fernes Akkordeon spielt 'Caravan', die N-Gitarre schnurrt. Zwei Stimmen referieren über den Ausnahmezustand und die Schamlosigkeit, die künstlerisches Schaffen ermöglichen, und über das 'Nein' des ästhetischen Menschen. Nietzsche trapst als Nachtigall: Es giebt zwei Zustände, in denen die Kunst selbst wie eine Naturgewalt im Menschen auftritt, über ihn verfügend, ob er will oder nicht: einmal als Zwang zur Vision, andrerseits als Zwang zum Orgiasmus. Beide Zustände sind auch im normalen Leben vorgespielt, nur schwächer: im Traum und im Rausch. Vinyl knurscht, der Harmonikadrone kurvt und sirrt. Und träumt von der suggestiven Kraft der Musik, ihrer "suggestion mentale"..." [Bad Alchemy]

€11.00

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MUNDAL, ARE

Nocturnal Discombobulation

Format: 7inch Year: 2022

"Are Mundal / N.U.N. Nocturnal Discombobulation (Telestrion Records 004) 7" EP 12m According to one of the inserts that comes with this, N.U.N. stands for "Nacht und Nebel", whereas the other insert says "New experimental/dark ambient 7" by Nacht und Nebel " - hmmm, okay. Yet the cover implies that it's an Are Mundal release! And, what does Discombobulation mean? "In a state of confusion" according to Google. So, aptly nothing is clear. Except for the Satanic and sado-erotic imagery of the artwork. The music is all of a bleak and gloomy nature, as one expects from Are Mundal, almost certainly inspired by dark ambient and industrial music of artists like Lustmørd, SPK or Brume. The A-side is based around deep growly sounds, dark tones, shuddery electronics, guitar/bass, some saxophone and voice fragments, plus sundry other elements, whereas the B-side starts with the narration from a dissection commentary over which string tones and ritualistic percussives grow. Each side is over too soon really, and I could well imagine the music achieving far more if it had been given the room to develop. Yet, for what it is, it must be one of the strangest 7" records I've heard in a while, and also a rather good one." [Audion Mag.] https://aremundal.blogspot.com

€10.00

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MURMER

Periodic Exercises in (f)utility [homework 2016-2022]

Format: do-CD Year: 2023

this is a Kokeshidisk release - kodi 14 - september 2023 "i work slowly, and sometimes i work not at all. so having an open invitation from taâlem to create work at the end of each year, especially as winter is setting in and it is beginning to feel like i’ve done nothing all year (i haven’t, but it can feel that way), comes as an energy boost, a reassurance, and an opportunity to resurrect some confidence, and a sense of worth. so i push myself to take that opportunity - and have done so each year since the project began (aside from the year in which my father died, explaining the 2019 gap) - and i thank jean-marc for providing it. in many, in fact almost all, of the years represented here, my piece for homework was the only work i published. indeed, this collection is sandwiched by my two most recent (physical) releases: songs for forgetting was released in late 2016, just before the docks sing in strange tongues appeared on homework 1, and tether was released in early 2023, several months after thaw and timber was published on homework 7. so this collection could be viewed as my complete sonic journey over those 7 years, digging in archives, showing off newly discovered sounds, and all in all attempting to prove to myself that it is all for something, that the tape should keep rolling, and that i must pay attention, because my homework will soon be due." (patrick/murmer, june 2023) the docks sing in strange tongues (2016) objects and situations found in rovaniemi, hamburg, mooste, põlgaste, tallinn, and bordeaux between 2003 and 2016. title found in the poem of the same name by panos panagiotopoulos. echo surveys: viljandi (reimagined) (2017) echo surveys is an ongoing series of activities including performances, workshops, installations, and compositions that consist of site-specific sonic interventions; all sounds heard are produced and/or recorded in a chosen space, using only materials found therein. this 'reimagined' work adds a new layer; it is based on a live performance at the noisy november festival at supersonicum in viljandi, estonia on 2017.11.17, and is composed from the initial field recordings made in the space for use in the performance, as well as from the recording of the performance itself. also participating in the performance and therefore in this composition were erik alalooga and taavi suisalu (the event organiser and other performer on the bill that night, respectively) and a number of members of the public. water, grain, oil (2018) water, fingers, and nylon string (france, 2008); disturbed ants (finland, 2014); panelia mill grinding wheel (finland, 2009); empty oil tank interventions (latvia, 2008) nail down your ghosts (2020) source material recorded in an abandoned and now-demolished house in the estonian town of valga in october 2019. sonic interventions performed, and elements subsequently reworked, by liisa hirsch and patrick tubin mcginley, 2019/2020. composed from those elements in june 2020. originally created for the short film to crumble into clouds above your living room by anna hints, commissioned as the estonian contribution to the 2020 venice biennale of architecture, postponed to 2021 due to the covid-19 pandemic. echo surveys: nuti (reimagined) (2021) in november, 2020 i participated in an event curated by shawn pinchbeck for BEAMS (the boreal electroacoustic music society) in canada entitled together apart... an evening of audio wonderments. it was to be another online concert in response to the covid-19 pandemic and lockdown, but due to the time differences for artists spread throughout north america and europe, we were given the opportunity to pre-record our performances. this allowed me to create a piece in our half-renovated farmhouse in the estonian countryside, from which a live stream would have been impossible to organise. the piece streamed online on the night of november 21st, and was then briefly archived on BEAMS’ twitch page. i then made this 'sound film' available permanently online (murmerings.com/2021/01/echo-surveys-nuti/). for this release i reimagined this work for sound only, editing a piece together from the original live performance recordings and the sources used therein. thaw and timber (2022) dripping woodshed roof (estonia, 2022); railings at the bfm (estonia, 2022); thawing earth (estonia, 2022); water heater (france, 2008); toddler making feedback (estonia, 2020); sodablasting log walls (estonia, 2020); inside kreenholm (estonia, 2017); baltijaam wall (estonia, 2011) photographies by patrick tubin mcginley design by désaccord majeur mastered by flavien gillié https://taalem.bandcamp.com/album/periodic-exercises-in-f-utility-homework-2016-2022-kodi-14 "As Taalem sees a restart (see elsewhere), so is their sub-division Kokeshidisk. The mothership Taalem releases a yearly Bandcamp digital-only, pay-as-you-want compilation called 'Homework', and for seven years, they have been doing this every year, resulting in a massive album (always announced in Vital Weekly). I am unsure why they selected Murmer to collect his pieces from six (one year he was absent because his father died) and someone else. Other, of course, then they think these are good pieces. Murmer likes to submit relatively long pieces to compilations, hence the double disc. Patrick Tubin McGinley, the man behind Murmer, isn't the most active musician in the releasing CDs (cassettes, vinyl) department. He's a man of words, and for each of the six pieces, there is a list of sound sources and inspirations for titles. For many years, he has lived in Estonia and is very active with field recordings, which he incorporates in music, installations, workshops, etc. His primary interest lies in finding sustaining and minimal sounds. 'The Docks Sing In Strange Tongues', the first piece here, collects sounds from various harbours and in the mix, it all makes a very coherent, minimalist music piece, which reminded me of Ingram Marshall's 'Fogtropes'. This piece sets the tone for the other five. In each of his works, Murmer uses a limited set of sounds, different sounds, that is, and these are cleverly woven together. Nothing stays for very long in the place, as Murmer uses a variety of lengths, so there is never the same overlap. In that respect, he reminds me of the sadly recently deceased Steve Roden. It bears the same tranquillity, the same effective sparse use of sound sources and working within limitations to a significant effect. His field recordings are usually entirely obscured, which adds to the beauty of it all. In 'Echo Surveys: Nuti', there are wind chimes, and in ''Echo Surveys: Viljandi' birds, perhaps. Water sounds in 'Water. Grain. Oil', maybe, but whatever else? I don't know. Murmer uses quite a bit of filtering (at least, so I believe) and prefers darker sounds. This, too, adds to the ambient quality of the music. It is an excellent release, which begs the question: why isn't there more of Murmer available?" [FdW/Vital Weekly]

€15.00

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MUSLIMGAUZE

Emak Bakia

Four extended tracks of atmospheric doom sludge, each with a different guest vocalist: Alan Dubin (Gnaw, Khanate), Rachel Davies (Esben & The Witch), Lane Shi Otayonii (Elizabeth Colour Wheel), & Dylan Walker (Full of Hell). Nadja's latest full-length offering Labyrinthine, recorded during the pandemic and concurrently with their Southern Lord album Luminous Rot, finally sees a CD release on the band's own label, Broken Spine. Labyrinthine explores themes of identity and loss, monstrosity and regret, extreme asceticism, the differences between labyrinths and mazes, taking inspiration from Haruki Murakami's Killing Commendatore, Ursula K. LeGuin's The Tombs Of Atuan, and Victor Pelevin's reinterpretation of the story of the minotaur and Ariadne, The Helmet Of Horror. While this might be Nadja's heaviest, doomiest album to date, it is unique in the band's extensive catalog as each track features a guest vocalist: Alan Dubin, legendary American vocalist from O.L.D., Khanate currently Gnaw; Rachel Davies, vocalist and bassist from the British band, Esben & The Witch; Lane Shi Otayanii, a Chinese multi-media artist and vocalist in Elizabeth Colour Wheel; and Dylan Walker, American vocalist from grindcore/noise band Full Of Hell. Nadja has released numerous albums on many different underground labels -- Alien8 Recordings, Daymare Records, Robotic Empire, Hydrahead Records, Gizeh Records, and Important Records, to name a few. The duo has toured extensively around the world, including performances at such festivals as SXSW, FIMAV, Roadburn, Donaufest, Le Guess Who, Incubate, and Unsound, and has shared the stage with such artists as Earth, OM, Khanate, Tim Hecker, Ben Frost, and Godflesh. Mastered by James Plotkin, artwork by HLG. Aidan Baker - guitars, drum machine Leah Buckaeff - bass Alan Dubin - vocals Rachel Davies - vocals Lane Shi Otayonii - vocals Dylan Walker - vocals https://nadja.bandcamp.com/album/labyrinthine

€20.00

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NADJA / AIDAN BAKER / LEAH BUCKAREFF

Trinity

Format: CD Year: 2008

Als NADJA zusammen mit ALLSEITS in der "Friese" in Bremen auftraten, gab DIE STADT diese CD heraus, mit dem wohl ersten veröffentlichten Solo-Track von der weiblichen NADJA-Hälfte LEAH BUCKAREFF! Dieser erscheint tatsächlich wie ein Gegenpart zu AIDAN BAKERS Musik-Kunst, ist aber bassiger & abgründiger, pulsierend & gefährlich ... allein dieses Stück "Socorro" wäre das Geld wert! Ansonsten gewohnte Klasse ! "A special NADJA CD also feat. one solo track by both members Aidan Baker & Leah Buckareff. Released in conjunction with a live performance on 20. April 2008 in Bremen. Limited edition of 500 numbered copies in full color sleeve. Total playing time: 38:35 min. Track listing: 1. Aidan Baker 'Carrizozo' 10'31 2. Leah Buckareff 'Socorro' 10'42 3. Nadja 'Jornada del Muerto' 17'22 " [label info] "Die Stadt always takes great care of their artists. Once you belong to the label, the label will carry all your releases, and when in Bremen, Stadt of Die Stadt, the artists will play and there is a CD for the occasion. This trinity of a matter of one plus one is three. Nadja is the duo of Leah Buckareff and Aidan Baker, so they can do three things on the same night. On April 20th (a day with historic significance... Bebe Barron died that day this year for instance) they visited Bremen and on 'Trinity' there are two solo pieces and one duo piece. It's interesting to see how things add up, or perhaps don't. Nadja is in full form here, with a loud rocking piece: the drum machine hammers time away, while guitar and bass play distorted, meanwhile looping their sound. A strong 'hole' in the sound adds an odd angle to the piece. A far cry away from Baker's solo piece, made of carefully strummed guitars which are looped around. Drones are faded in over the course of ten minutes and things remain subtle. In the middle, literally, is Buckareff solo for bass. Also starting out quiet things are unmistakably but the distortion pedal is already lurking underneath and adds a more noisy tone to the music. If these names don't mean anything to you, but see their music all around, then this is absolutely a fine place to start. Trademark pieces everywhere." [FdW / Vital Weekly] label-website: www.diestadtmusik.de

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NADJA / NETHERWORLD

Magma to Ice

Format: CD Year: 2008

10. Ausgabe in der FEAR DROP / FARIO - Split & Collaboration-Serie, diesmal sind die kanadischen Drone-Metal Überflieger NADJA und der italienische POLAR-AMBIENT Act NETHERWORLD in interessanter Kombination zu hören - 3 Stücke von NETHERWORLD, ein langes von NADJA welches eine einzige gigantische Drone-Blase darstellt, und eine fast 10minütige Zusammenarbeit). Kommt im überdimensionierten Vollfarb / Aufklapp-Cover! Eine Verbindung von "heissem" und "kaltem" Ambient wie man sie nur selten auf einer CD finden wird. "Talented Italian ambient composer Alessandro Tedeschi runs the Glacial Movements record label and plays music as Netherworld. His fascination for polar landscapes and soundscapes makes him close to industrial ambient pioneers such as Thomas Köner, Rapoon, Biosphere and Lull. Icy, windy, droning and deeply "protomelodic" at once, his music is a poetic translation of the ice floe. For this record, he used processed fragments of classical music. Nadja is the drone / doom / ambient duo of Canadian musicians Aidan Baker and Leah Buckareff. Their behemoth of sound is a construction of heat, weight, loop and vapour. Here, they had to break Netherworld¹s ice and find a way to the red core of Earth. The common track brings heat onto ice, which warms up, crackles and soon melts. As a conclusion, the long piece by Nadja is total heat. This is Nadja "unrhythmed", which means pure lava. This CD features exclusive graphic concepts and artwork by Alan McClelland (www.eyelyft.com) " [label info] "French label Fario is not very active: this is their tenth release in about as many years. The label is an off shoot of the excellent (but en Francais) magazine Fear Drop, whose only goal seems to release a CD with the meeting of two artists. They present each a couple of solo pieces and one collaborative piece. Lopez & Roden, Troum & Christian Renou, Rapoon & Desaccord Majeur and Vromb & Telepherique went ahead (among others) and here it's the turn for Alessandro Tedeschi, also known as Netherworld, and owner of the Glacial Movements label and Aidan Baker and Leah Buckareff, from Canada and best known as Nadja. Netherworld's three pieces are an excellent sound example of his own label: glacial movements. A very apt description. Still music of slow moving, utter deep movements. A turtle moves faster I think. A deep bass rumble in 'Closing To A Glacial Dawn'. Sounds like Biosphere or early Thomas Köner, but surely with a fine twist of his own, apparently all made with snippets of classical music. I skipped the collaboration to save that until the end and first heard the piece by Nadja, which spans nineteen minutes. A giant explosion takes place, and it sounds like a 180 degrees turn around from the Netherworld tracks. Yet that is only deceiving the listener. Yes, Nadja is much louder, but it's the same side of the ambient at work here: long sustaining sounds, feeding through effects, creating a ringing effect in your ear. Absense of rhythm is noted. How exactly their collaborative effort was recorded is a bit unclear but both ends meet up well here. There is the glacier like sounds of Netherworld, amplified of course to compete with the harsher sounds of Nadja, who mix in their own blend of guitars and electronics. Placed as the fourth track on the CD it makes perfect sense, forming a perfect bridge between the trio of silence of Netherworld and the solo outburst of Nadja. A perfect collaboration." [FdW / Vital Weekly] labelwebsite FARIO: http://www.feardrop.net/fario.html

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NADJA & TROUM

Dominium Visurgis

Format: CD Year: 2010

"TRANSGREDIENT RECORDS TR-07 RELEASE DATE : 15. May 2010 8-PANEL DIGIPACK w. METALLIC COPPER PRINT FORMAT: FULL-LENGTH CD PLAYTIME: 49:30 min FILED UNDER: DRONE NADJA & TROUM "Dominium Visurgis" This is something you could call a "dreamlike liaison". When the Canadian "avant metal / drone doom"-duo NADJA (who name TROUM as one of their early influences) and the German post-industrial / experimental drone pioneers TROUM (years ago active as MAEROR TRI who are still discovered by many drone-fans these days) combine their exceptional styles, they form something even vaster as usually known from them. These three long collaboration tracks were recorded as a result of a spontaneous improvisation in April 2008 "live in the studio" near the Weser-river in Bremen, Germany, and suck you in with their powerful & emotional drone melancholy that works in many micro-& macrocosmic ways, using electric & acoustic guitars, bass, accordeon, drum-machine & voice." [label info / press release] "In dieser ersten Zusammenarbeit von Troum (Baraka[H] + Glit[s]ch) aus Deutschland und Nadja (Leah Buckareff + Aidan Baker) aus Kanada schaffen beide Bands etwas, dass vielen derartigen Kollaborationen eben nicht gelingt: den eigenen Stil beizubehalten und gleichzeitig offen zu sein, zentrale Elemente des musikalischen Partners gleichberechtigt einzubinden und eine echte Mischung entstehen zu lassen. Sei es aus dem Wissen darum, dass dies nur in einer direkten Konfrontation geht, sei es aus anderen Gründen und allein der glückliche Zufall hat es bewirkt, Troum und Nadja haben mit „Dominium Visurgis“ keine e-mail Zusammenarbeit auf CD gebannt, sondern sich tatsächlich im Studio getroffen und die vorliegenden drei Stücke in enger Zusammenarbeit komponiert und aufgenommen. Denn nur die dann entstehende derartig intensive Interaktion (und eigentlich: die daraus resultierende gegenseitige Inspiration) lässt eine Atmosphäre entstehen, die noch über die eigentliche Musik hinauszustrahlen scheint, den Wirkungskreis der Musik erweitert. Bei aller Qualität, die die VÖs beider Bands sonst haben, „Dominium Visurgis“ ist etwas besonderes. [Hellmut Neidhardt aka "N", Unruhr] "...Ein dröhnender, träumender Urozean, ein Fluss ohne Ufer, brandet, brodelnd und pfeifend, an Urgestade, die erst noch im Werden sind. Das Pfeifen lässt einen für einen Moment das Schreien von Phantommöven über der summenden, wogenden, atmenden Panthalassa halluzinieren. Der ‚atmende‘ Blasebalg erklingt nun auch als webendes Akkordeon neben klingelnden Gitarren. Die beiden Duos sind komplett zu einem Quartett verschmolzen. Man starrt gebannt auf, ach was, durch seine Schuhe hindurch beinahe bis zum Nabel der Welt." [R. Dittmann, Bad Alchemy] "To some these two names represent the absolute top of the drone music, and who am I to disagree? Troum, the follow-up to Maeror Tri and Nadja, the duo of Leah Buckareff and Aidan Baker, have both presented themselves through a line of releases, displaying the finer sense of drone music, through the use of guitars, accordeon, voice, rhythm machine effects and such like. In April 2008 they did a spontaneous improvisation in the Troum studio, which now is released on CD. This is indeed the top of their scene: guitars are set to play drones, through the use of e-bows, through lots of sound effects, loop stations and all such like. They do the usual slow built up towards a mighty crescendo, fly through air, and then land safely through a long decrescendo. Headspace music. Perhaps not the kind of music for a sunny day like it is today, but more for grey, rainy days. They are mood musicians and one has to be open to these particular dark moods, but if you open up then they are more than willing to transport you through these dark woods. An excellent work, hardly to believe one of some afternoon improvisation." [FdW/Vital Weekly] "... On albums like this, one again realizes just how many shades Troum’s self-repeating, subtly changing structures contain. When joined to parts provided by other talented artists, they shine with incredible power and enchantment, which one has to admire, totally captivated. This is precisely what happens on Dominium Visurgis." [Jiituomas, kuolleenmusiikinyhdistys.net]

€12.00

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NAM-KHAR

Sur Chöd

Format: CD Year: 2020

The Ritual/Drone collective Nam-Khar return to our Winter-Light label with their latest inner outing entitled 'Sur Chöd'. This is Nam-Khar's second release with Winter-Light, after the very successful and well received 'Secret Essence/Sangwa Dupa' album in 2018. The music has evolved .... "Sur Chöd" is composed of 6 long-form pieces, each piece transforming and morphing in to a musical entity within it's own right. The traditional percussive elements are still there in the music, deployed in full force alongside more subtle uses of these instruments. It is the use of the drone and bass elements that have changed on this release. The small vacuous pockets which Nam-Khar use so well are soon filled with warm, thick drones, synthesised sweeps and enlightening cosmic sounds. It once again creates that space for the listener to move into for contemplation and reflection, to energise and focus through the welcome isolation space created by Nam-Khar's atmospherics. Pushing the inner-traveller ever further onwards, along different trodden paths. Ritual ambient, dark ambient, drone, industrial and subtle tinges of dark-jazz await the listener on this deep and diverse release from Nam-Khar. https://winter-light.bandcamp.com/album/sur-ch-d "Two years after its first album on Winter-Light label, Nam-Khar is back with the “Sur Chöd” full length, which seems as a natural evolution of the project, yet while keeping its specific style of Eastern aural mysticism, the project is infusing a handful of fresh spicy ingredients to their music. Already on the first track based on the sounds and echoes of horns and gongs you may notice a subtle yet quite atmospheric layer of the shade and colour I cannot recall it was present on “Secret Essence/Sangwa Dupa”. But it is with the second piece, “aDre” that all the fun begins. Of course the word “fun” should be filtrated by sensitivity of an introversive dark ambient supporter, like me for that matter. How the drones flow, blend and morph one into another… It is made with all the principles of the genre, takes you far above the Himalayan peaks and lets you float blissfully. If you know me a little, you know that I’m not so fond of the pitch-black side of the genre. There always should be at least a faint glimpse of light, an atmospheric or oneiric foothold, so to speak. On “Sur Chöd”, Nam-Khar finds a perfect balance while maintaining this “tibetan” spirit from the previous releases they managed to create a veil of still mystic, yet a more universal aura. Something that cannot be limited by the monikers related to a certain culture. It is as profound as the Nature itself. It still can be overwhelmingly dark, like “Dregs Pa”, yet I feel this time it is a facade, an opening gate for the unknown, vast realms of the world beyond. How the drones intermingle one with another forming these beautifully esoteric structures may at some points recall the darker works by Klaus Wiese or Mathias Grassow and since I’m a die-hard fan of both German artists, I can’t be more happy of that fact. “gNod sybyin” is evidently the best example. Along with these specific eastern drums and a silky glacial background it results with possibly the most sublime composition of the whole album. On this album Nam-Khar has evolved into a five person ensemble. I’m not sure exactly how the personal constellations looked in the past (most of the time I was convinced that it is a one-man project, to be honest), but I suspect there’s some fresh blood on the board this time and this different perspective is noticeable, yet it doesn’t conceal what Nam-Khar is about. Nice example of stimulating diversity in favor of the project’s coherent style is “Gangs chen mdzod lnga”. Atmospheric scapes, reverbed tinkles, ritual sequences and silence being a crucial part of the whole composition. No single unwanted sound. The final track has been made in collaboration with Akoustik Timbre Frequency, the project by Priapus23, who’s also known as a CEO of a ritual dark ambient label Sombre Soniks. And this is another “Sur Chöd” highlight, an unconditionally stunning fusion of divine drones, unrushed beats and a handful of tiny ornamentations. This one may not be exceedingly intricate, but in this case the artists prove that simplicity is a virtue and I found myself listening to “T’ew Rang” several times in a row, on repeat. I would say it’s Nam-Khar’s best work up-to-date. I still appreciate “Secret Essence/Sangwa Dupa”, as I wrote in a review that album was more than decent, but I have to admit that I find some moments too “straightforward dark” to me, so I have to be in a proper mood to play that CD. “Sur Chöd”‘s palette of emotions is far more broad and giving even more possibilities for your own inner journeys. Where will it take you? Check for yourself." [Santa Sangre mag]

€13.00

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NATURE OF DISLOCATION

Elements

Format: mCD-R Year: 2009

"NATURE OF DISLOCATION is a japanese collective gathering various multimedia artists (video, music, photo, performance). music is created by HIROKI SASAJIMA (who's already put out some solo netreleases) and TAKAHISA HIRAO. the sound of NATURE OF DISLOCATION is simple and pure ambient..." [label info] www.taalem.com

€5.00

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NECKS, THE

Bleed (colour vinyl)

Format: LP Year: 2024

https://thenecksau.bandcamp.com/album/bleed "Back in full force, Northern Spy returns with what might just be the best record we’ve heard all year: The Necks’ “Bleed”. A creatively visionary and astounding immersion into the band’s singular realm of sonority, unfolding at a glacial pace over the 42-minute composition’s duration, these two vinyl sides comprise some of the most tense and ambitious moments we’ve ever heard from one of the most important bands working today. Since their founding during the second half of the 1980s, the Australian trio, The Necks - Chris Abrahams, Lloyd Swanton, and Tony Buck - have slowly emerged as an entirely singular force within the global landscape of experimental music, weaving remarkable, free flowing improvisations that rest within the border regions between Minimalism and jazz. Marked by astounding sense of artistry and musicianship, there is, quite simply, no other band like them. Just a year on from 2023’s absolute stunner, “Travel” - The Neck’s second outing with the American imprint Northern Spy - the trio returns to the label with “Bleed”, a single, 42-minute composition, unfurling at a delicate, glacial paces that seems to distill the nearly 40 years of collaboration within its dazzling interplay, endlessly pushing toward new, uncharted ground. Issued by Northern Spy in two beautifully produced vinyl editions - black and green - as well as a CD edition, housed in a deluxe wallet with printed inner sleeve, it’s yet another towering and entirely engrossing achievement by one of the greatest bands working today. Drawing upon the diverse musical backgrounds of each of its members, The Necks were founded in Sydney, Australia, in 1987 by Chris Abrahams (piano / Hammond organ), Tony Buck (drums / percussion / electric guitar) and Lloyd Swanton (bass). Even from their earliest emergence into the global consciousness with their debut full-length, 1989's “Sex”, the group entirely stood out from the pack, demarcating a minimal zone at the more experimental reaches of jazz (if it can even be called that thing). Defined by a rare sense of acoustic purity, restraint, and a singular creative vision, guided into being by unparalleled musicianship and mutual respect amongst its three members, over the decades, and across roughly two dozen full-lengths, The Necks have ebbed and flowed, creating a music that feels remarkably open while precise, their pieces evolving slowly over their durations, focusing the ear toward microscopic details, in understated tapestries of sonority that engage an endless sense of surprise from the most elemental means. In the simplest sense, The Necks are a band that feel as though they have nothing to prove - three artists in close conversation, easing forward as a single, collective force - while making music that is earth-shatteringly understated to profound effect: the minimal, maximised. Their latest, “Bleed”, might just be their most striking statement, to this effect, to date. Comprising a single, 42-minute composition, the album displays a clearer bearing of its sophisticated inner workings and tensions than some of the band’s previous releases. Constructed from the trio’s familiar pallet of structures, “Bleed” is a glacial movement of rhythmical and textural elements, and tones produced by piano, bass, and drums, with guitar occasionally woven in. An open and spacious image of creative restraint, Abrahams, Buck, and Swanton’s interventions and responses hang in the air with grace, flirting within an expanded sense of time that withholds the satiation of tension and release that has helped define The Necks' sound over the years, feeling at times so deconstructed and drawn out, that it, in moments, undermines an explicit sense of musicality: presenting a musical journey where the arrival is the journey itself. Nothing short of astounding, and as close to a masterpiece as The Necks have ever produced, “Bleed” is a listening experience that holds the potential of changing our perceptions of music itself and the possibilities presented by group collaboration. In the most subtle of ways, it represents a giant leap for the group. If The Necks are a group that sound like no one else, “Bleed” is a record that almost defines that sound but could only be made by them. Issued by Northern Spy in two beautifully produced vinyl editions - black and green - as well as a CD edition, housed in a deluxe wallet with printed inner sleeve, this a ten out of ten and beyond. Easily among the best records of the year and absolutely essential for everyone under the sun." [Soundohm] "Australian minimalist-jazz trio The Necks’ new studio album, Bleed explores a sublime language of stillness. With a single, 42-minute composition, The Necks masterfully express the unspeakable beauty of decay and space in yet another totally distinct entry in a vast and stunning body of work." [press release]

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NECKS, THE

Bleed

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 !! “Viva Negativa! – A Tribute To The New Blockaders” incl. collaborations with/reworkings by 75 avant garde//industrial/noise artists: Oren Ambarchi, Anomali, Ashtray Navigations, Emil Beaulieau, Benzo, Maurizio Bianchi, Cisfinitum, Controlled Bleeding, Dieter Muh, Evil Moisture, Freiband, Grunt, The Haters, Jason Kahn, Zbigniew Karkowski, Komafuzz, Kraang, Lockweld, Massimo, Daniel Menche, Thurston Moore, MSBR, Nocturnal Emissions, KK Null, Pita, Plethora, Prurient, Richard Ramirez, Scanner, Silvum, srmeixner, Asmus Tietchens, Treriksroset, Vortex Campaign, V/Vm, Keith Fullerton Whitman, John Wiese, Nobuo Yamada, Z’EV.” [label info] “....It's an overwhelming project, by it's size, it's quality both in music and cover art. A compendium of international noise music, a bold statement, which should belong in every home and an excellent example of how these things should be made.” [FdW / Vital Weekly]

€60.00

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NEW BLOCKADERS (THE)

VIVA NEGATIVA Vol. 2

Format: 4 LP - Box Year: 2006

Full-Colour box w. 4 LPs containing TNB remix-material from C. RENOU, MNORTHAM, AUBE, RLW, VIOLENT ONSEN GEISHA, AMK, DAMION ROMERO, DAS SYNTHETISCHE MISCHGEWEBE, SPIRACLE, MERZBOW, WOLF EYES, INCAPACITANS, JIM O'ROURKE, DAVE PHILIPPS, BROKEN PENIS ORCHESTRA, LASSE MARHAUG, G. TONIUTTI, etc. etc. second part of this monstrous compilation project !! lim. 500 - only 250 for free distribution !! “Viva Negativa! – A Tribute To The New Blockaders” incl. collaborations with/reworkings by 75 avant garde//industrial/noise artists: AMK, Art Break, Aube, Bloxus, Alexei Borisov, Broken Penis Orchestra, Cheapmachines, Courtis, Das Synthetische Mischgewebe, Aaron Dilloway, Embudagonn 108, Eshak, Government Alpha, Idea Fire Company, Incapacitants, Lasse Marhaug, Merzbow, Kiyoshi Mizutani, mnortham, Jim O’Rourke, Dave Phillips, Plexia, Putrefier, Christian Renou, RLW, Damion Romero, Runzelstirn & Gurgelstock, Spiracle, Sudden Infant, Giancarlo Toniutti, Brendan Walls, Withdrawal Method, Wolf Eyes, Achim Wollscheid, Violent Onsen Geisha” [label info] “....It's an overwhelming project, by it's size, it's quality both in music and cover art. A compendium of international noise music, a bold statement, which should belong in every home and an excellent example of how these things should be made.” [FdW / Vital Weekly]

€60.00

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NIBLOCK, PHILL

Exploratory I

Format: LP Year: 2021

Matière Mémoire present the new work of Phill Niblock: EXPLORATORY. One of the most beautiful and powerful works that Phill Niblock has ever offered. Phill reinvents and probes the oceans of drone music possibilities deeper than ever. This piece has been performed and recorded for over a year by many great musicians around the world, under the supervision and direction of Phill: Arditti String Quartet, David Watson, Lucy Railton, Phoenix Ensemble Basel, David Maranha, Ben Richter, David First, Andre Goncalves, and many more. Matière Mémoire is now releasing the first two volumes by Arditti String Quartet, David Watson (Vol. 1) & Phoenix Ensemble Basel (Vol. 2). https://www.matiere-memoire.com/page-d-articles/phill-niblock-exploratory-vol-1 SOUNDOHM: Phill Niblock "Exploratory l & II" (2LP in bundle / CD) Only a handful of years after their launch in 2018, the Belgian Imprint, Matière Mémoire, has quickly ascended to become a label to watch. Focused on releasing new works by some of the most important figures in contemporary experimental music - Carlos Casas, Susana Santos Silva, Torbjörn Zetterberg, Hampus Lindwall, Charlemagne Palestine, Jim O'Rourke, Oren Ambarchi, and numerous others - their catalog features a thrillingly diverse array of ambitious sounds. Among the artists offered a more dedicated focus within central Matière Mémoire’s output, is legendary minimalist composer Phill Niblock. 2019 witnessed the label’s release of Music For Organ, followed by his collaboration with Franck Vigroux and Kasper T Toeplitz, BestiaIRE, in 2020, and then Browner his contribution to their ambitious MMXX ‎series, later that year. Now they’re back with a stunning double bill of LPs from Niblock, Exploratory I and Exploratory II, comprising a sprawling set of sonic exploration performed and recorded over the course of an entire year by Arditti String Quartet, David Watson and Phoenix Ensemble Basel. Issued in limited editions on transparent and clear red vinyl respectively, as well as in a CD edition that collects both, in his 88th year Niblock remains as visionary and ambitious as he ever was. A composer, filmmaker, photographer, and tireless supporter, Phill Niblock is a pillar of American experimental music. For the last fifty years, there hasn’t been a time when he wasn’t there. Few haven’t, in one way or another, been touched by his music - carefully crafted, constrained works of durational tonality and shimmering harmonics - and his many efforts. For much of his career, Niblock has been focused on live performance acoustic phenomena, refraining to release his music in recorded form until the early 1980s, and then at an incredible slow and considered pace. Consequently, while more constrained that most artists of his generation, his output has been defined by a remarkable sense of clarity and depth, with each album album amounting to near perfection. Thankfully, over the last five years, pace of releases has begun to quicken, nearly doubling his discography during that period. Matière Mémoire’s latest double batch, the LPs Exploratory I and Exploratory II, takes us deeper into the incredible world, further expanding our access to his work for acoustic instruments, first unveiled by seminal albums like Nothin To Look at Just a Record, Niblock For Celli / Celli Plays Niblock, and Four Full Flutes, and increasingly returning to occupy a central place in his practice during recent years. Exploratory I and Exploratory II belong to a larger body of extended works performed and recorded, under the close supervision and direction of Niblock for more than a year, by a remarkable cast of international players including, but not limited to, Arditti String Quartet, David Watson, Lucy Railton, Phoenix Ensemble Basel, David Maranha, Ben Richter, David First, and Andre Goncalves. The first instalment, Exploratory I, features two distinct iterations - each offered a full side of the LP - one by Arditti String Quartet - the famous UK based ensemble founded 1974 by Irvine Arditti, Levine Andrade, Lennox Mackenzie and John Senter, focussed for nearly half a century on supporting contemporary composers by rendering their works in the closest possible way to their original vision - and the second by David Watson, the seminal New Zealand, New York based, experimental musician and bagpiper. Like so much of Niblock does, the LP unveils a startling sense of scope - especially via the interplay and contrast by the renderings - from incredibly constrained means, each built from layers of sustained tones that reconfigure the notions of drone in real time. Imbued with remarkable tension and intensity, subtle shifts of harmonics bend time, moving at such a glacial pace that it’s sometimes impossible to know if they are tricks of the ear, creative considerations embedded within the work, or byproducts of mental and physical states of the players, with Arditti String Quartet’s side occupying a lower register and thicker sense of range, standing in contrast to Watson’s, that bristles in its spareness in ways that only his instrument can produce. Of the three rendering, Exploratory II has what is arguably the broadest timbral range. Created under Niblock’s supervision by Phoenix Ensemble Basel - currently one of the most important contemporary music groups based in Switzerland, running for more than 20 years with a cast of roughly 25 musicians in its ranks - the half hour long piece (also the longest of the three featured across the Matière Mémoire’s two LPs) swells with oceanic depth, moving subtly between the appearance of stasis, beneath which remarkable power and diversity lays, and moments that build with tension, like a storm about to explode. With Niblock’s work over the last 40 years occupying such a high bar of quality, it’s impossible to have favorites or designate one as better than the next, but Exploratory I and Exploratory II are easily some of the most exciting of his recordings to have emerged in recent years. Imbued with the power, depth, and range that only acoustic instruments can unleash, they are a stunning immersion into of world of brilliant creativity via the constraints of durational tone. Issued by Matière Mémoire in two editions of 300 copies - Exploratory I on transparent vinyl and Exploratory II on clear red vinyl, as well as in a CD edition that collects the material from both LPs, they’re impossible to recommend enough.

€26.00

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NIBLOCK, PHILL / ANNA CLEMENTI / THOMAS STERN

Zound Delta 2

Format: LP Year: 2024

A new piece by minimalist / experimental composer PHILL NIBLOCK (1933 - 2024), co-composed and performed by ANNA CLEMENTI & THOMAS STERN. Intense, menacing layers of thick drones and alien sounds. In summer 2022, within just a few weeks and by pure coincidence, 2 proposals regarding PHILL NIBLOCK albums arrived: one suggesting an overdue vinyl reissue of a CD release (more on that when the time has come for it), the other email was from ANNA CLEMENTI saying she and THOMAS STERN were working on new pieces that PHILL NIBLOCK has written for her … when "Zound Delta 2" was complete, PHILL sent photographs for the two artworks, we met twice to discuss details, but unfortunately he died unexpectedly early january this year so the album now is, sad as it is, a posthumous release … an intense goodbye from one of 20thcentury most iconic composers. Phill Niblock Phill Niblock (1933-2024, USA) was an artist whose fifty-year career spans minimalist and experimental music, film and photography. Since 1985, he has served as director of Experimental Intermedia, a foundation for avant-garde music based in New York with a branch in Ghent, and curator of the foundation's record label XI. Known for his thick, loud drones of music, Niblock's signature sound is filled with microtones of instrumental timbres that generate many other tones in the performance space. In 2013, his diverse artistic career was the subject of a retrospective realised in partnership between Circuit (Contemporary Art Centre Lausanne) and Musée de l'Elysée. The following year Niblock was honoured with the prestigious Foundation for Contemporary Arts John Cage Award. phillniblock.com Anna Clementi Italian-Swedish singer Anna Clementi grew up in Rome, where she first studied the flute and completed acting training before moving to Berlin and studying experimental vocal music and experimental music theater with the composer Dieter Schnebel at Hochschule der Künste (now UdK Berlin). Anna Clementi sees herself as an "actress of the voice" rather than exclusively as a singer. In this way she also articulates the diversity of her artistic expression, with which she is always searching for new connections between voice, gesture, language, dance and theater. During her decades spanning career, Anna Clementi has performed at the most important festivals, has premiered numerous works, many of which have been composed especially for her, and worked with Fast Forward, Michael Hirsch, Rupert Huber, Christian Kesten, Alexander Kolkowski, Olga Neuwirth, Josef Anton Riedl, Iris ter Schiphorst, Dieter Schnebel, Laurie Schwartz, Elliott Sharp, and many others. A special focus of hers is the work of John Cage, whose pieces she has performed worldwide. www.annaclementi.com Thomas Stern Born in Bremen, Thomas Stern moved to Berlin in 1984 where he joined Mona Mur with Alex Hacke and F. M. Einheit (both from Einstürzende Neubauten, with which Stern also worked as live sound engineer for many years). Around 1987 he co-founded the Berlin set up of Crime And The City Solution (Mick Harvey, Alex Hacke a.o.). Over the years, he has has collaborated with artists like Ulrike Haage, Phew, Nick Cave, Ton Steine Scherben, Meret Becker, Nina Hagen, Jaki Liebezeit, Ben Becker, N.U. Unruh, Gry, Iris ter Schiphorst, Automat, Swans, Hans Joacxhim Irmler and many more, on the road or in his own Sternstaubstudio. www.thomasstern.de credits released April 12, 2024 Anna Clementi: voice Thomas Stern: slide guitar, bass and soundprocessing Composition by Phill Niblock, Anna Clementi and Thomas Stern Recorded and mixed by Thomas Stern at Sternstaubstudio, Berlin Mastering and lacquer cut: Kassian Troyer at D&M, Berlin Cover photography by Phill Niblock Layout and design by kaidoh https://karlrecords.bandcamp.com/album/zound-delta-2 The information tells us about two Niblock proposals arriving simultaneously with this label in the summer of 2022. One is "an overdue vinyl reissue of a CD release", which we will hear of later (I'd rather see a CD reissue of 'Niblock For Celli/Celli Plays Niblock' or 'Nothing To Look At Just A Record'). The other proposal was from Anna Clementi, working with Thomas Stern on a piece by Niblock for them called 'Zound Delta 2'. Clementi is the voice here, and Stern plays slide guitar, bass and sound processing. It's not a traditional Niblock piece, in some ways, at least. For starters, there's a different kind of building of the piece. This time, it's not starting and ending as a wall of sound, but from isolated voice material, the piece starts building, and other instruments, assuming slide guitar and bass here, add to the density of the piece that it arrives after some ten minutes. From here on, the music remains dense, but there are changes within the colouring of the piece. The two versions of the piece are pretty different. The first has a relatively linear building of the piece, whereas the second version, halfway through adds other voice sounds (or even acoustic sounds or field recordings) and then the piece starts building again, but not with the same density. The voice is the primary instrument in this version, whereas in the first version, the voice is on an equal level as the other instruments; or perhaps processed along in similar ways. I have a slight preference for the first, perhaps, because this seems closer to Niblock's sound world, and in the second, the music veers towards improvisation a bit more. Both pieces make up for some interesting variation in the well-known Niblock territory, and that alone is great, but the results are excellent also. (FdW)

€20.00

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NIBLOCK, PHILL / ANNA CLEMENTI / THOMAS STERN

Zound Delta 2

Format: CD Year: 2024

€14.00

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NIEDOWIERZANIE

same

Format: LP Year: 2008

Debut-Album dieses 1-Mann Projekts aus Marseille (currently residing, like everyone else, in Berlin), ein sehr eigener Stil aus harmonischen Instrumental / Drone / Neo-Klassik Elementen, schleppend-rhythmischer Elektronik, Field Recordings und Effektbearbeitungen. Hier kommt etwas zusammen was eigentlich nicht zusammengehört, aber es funktioniert & klingt wie aus einem Guss! Mal ist der Sound schneidend wie Glas, dann verflüssigt sich alles wieder, durchtränkt von einem subtilen melancholischen Fluidum... Edition: 200 Stück auf weissem Vinyl. "In spite of all their growing differences, there are still hidden places, elusive dimensions where East and West meet… For instance in the highly introspective music of the Marseille/Berlin based solo project NIEDOWIERZANIE, presenting here its first official album in the shape of five long instrumental pieces of neo-classical sound sculptures. Flirting both with IDM and contemporary music, mixing organic compositions (using a wide range of string, wind and self-made instruments) with electronic cut-ups and field recordings from the artist’s native Marseille and his extensive journeys through India, these intense, complex and luminous crescendos evoke the works of artists as diverse as COIL, MIRROR, MIASTO NIE SPALO and ARVO PÄRT. 12" LP - white vinyl - lim. edition of 200 hand-numbered copies." [label info] www.tutrur.com

€16.00

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NILSEN, BJ & STILLUPPSTEYPA

Passing Out

Format: CD Year: 2008

Dritter Teil der nordischen "Drone & Alkohol-Intoxikation"-Trilogie, die den Zustand des Wegtretens zwischen Wachheit und Dämmerzustand klanglich adäquat wiederspiegelt; im tiefen Drone-Morast erscheinen Traumbilder, -gedanken & akustische Sequenzen der Realität auf. In paradoxer Weise ist man dann in der Lage, sowohl unbewusste wie bewusste Geistes-Inhalte zur gleichen Zeit wahrzunehmen...(sagen die Erzeuger dieses Albums). PASSING OUT ist ein One-Tracker von fast 70 Minuten, tiefgrummelnd-bassig und sonor und von mysteriösen, atmend-ächzenden Sounds durchzogen.... "The first chapter found the drink. The second came after a night of intoxicated shouting. The third chapter is inevitable: Passing Out. The Nordic sound artists BJ Nilsen & Stilluppsteypa have authored the last component to a trilogy of isolationist compositions for barren field recordings and lumbering electric drones, thematically linked in the psychotropic effects of alcohol. In doing so, they have issued a brief statement in defense of their research: "It's been four years and three studies, Passing Out being the final. Even in its most general, colloquial usage, Passing Out indicates the occurrence of a state that is incompatible with active behavior. It is possible that the individual could experience both consciousness and unconsciousness at the same time while encountering Passing Out." Yes, Passing Out is a crepuscular recording, with the flickering of twilight further dimmed by the distant Arctic sun in wintertime and the blackened numbness of too much drink. With one singular track that spans 60 minutes, a nearly constant thrum and rumble of monochromatic low frequencies casts a grim pall upon the precisely dialed-in modulations and vibrations. Spectral guitars, maudlin tunes from haunted radios, angrily growling voices, and field recordings of wind-whipped snow and ice bury themselves deep amidst these subharmonic drones. All of these tease at the edge of perception, sculpting the narrative of the drone into a vehicle for unhinged expressionism of varying degrees of horror, melancholy, beauty, and oblivion. The Swedish born BJ Nilsen defines his work as "focused upon the sound of nature and its effects on humans, and the perception of time and space as experienced through sound." He has numerous recordings on Touch and has collaborated with the likes of Chris Watson, Christian Fennesz, and Z'ev. The Icelandic citizens Sigtryggur Berg Sigmarsson and Helgi Thorsson are Stilluppsteypa, whose electronic abstractions engage absurd theatrics that mar the pristine surface of minimalism..." [label info] "....The complete and total isolation of the music, the long passages of seemingly no action (there is just one piece, clocking it at 68 minutes), with then a sudden break, a melody filters in, the radio starts humming and field recordings - that backbone of so much in Vital Weekly and certainly here - make this an album of not just pure drones or just processed field recordings, but the strange elements thrown in, give this album a stranger, almost alien feel to it. If it's the equivalent of passing out is a bit hard to say: the act of passing out on alcohol prevents you from remembering anything. This is however their best album to date and makes a strong trilogy." [FdW / Vital Weekly] "...Deep resonant vibrations abound, with some creepy breathing in your ear whisperings that may be those Leif Elggren vocals that Benny was talking about. Gradually, all of these deep drones and shadowy overtures glide into a slumbering descent. But the Icelandic weirdoes in Stilluppsteypa couldn't just let the album drift away without their absurdism forcing through the door, as they blurt with a clinical repetition of blooping electronics smashed and grabbed from Raymond Scott circa Manhattan Research. It's an unsettling climax to the album, but one that works brilliantly through Stilluppsteypa's expert use of electro-acoustic black humor. But it's drone that dominates the album, as angelic wash and devilish rumble collude to end this magnificent album. Oblivion never sounded so good. Passing Out is beautifully packaged with letterpressed and silkscreened artwork. Very nice." [Aquarius Records review] www.helenscarsdale.com

€13.00

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NIMH

This crying Era

Format: LP Year: 2012

"Synästhesie Schallplatten proudly presents Giuseppe Verticchio aka Nimh for the first release, attending for March, 2012. First time vinyl release for Nimh, this guy has a solid experience and has collaborated with some genius of dark ambient / done, like Maurizio Bianchi, Mathausen Orchestra, Andrea Freschi... This Lp compiles some New material, and some material released on Silentes on K7 or cd-r released in the past 10 years. Hand-numbered edition of 100 copies, 180 gram black vinyl + insert. Nimh's biography : Born in Rome in 1965, Nimh, computer programmer, starts to play electronic music in 1994. In 1996 he moves in Koh Samui, Thailand, where he lives about one year. During this period he starts to know and love oriental traditional music, so he begins to collect various ethnic instruments and to use them in his CDs. Starting from 2001 he realized many CDs under the name of ?Nimh?. His music combines a wide spectrum of influences, he has recorded and released many works of different nature containing elements of experimental music, ambient, dark-ambient, industrial, electronic, isolationism, ritual-ethnic music. After some CD-Rs available only in limited edition, since 2004 Nimh published a lot of official CDs released by labels such as Amplexus, Silentes and Eibon, alternating solo works with side projects (Hall of Mirrors, Maribor?) and collaborations with other artists. The most important collaborations include Maurizio Bianchi/M.B., Mauthausen Orchestra/Pierpaolo Zoppo, Andrea Marutti/Amon, Nefelheim, Amir Baghiri. In these years of activity Nimh collaborated in various way open projects, partecipation to CDs and compilations, live performances, audio editing and mastering works?) with other artists/projects in ambient-electronic-industrial-experimental-ethnic musical scene, such as Aube, Eidulon, K11/Pietro Riparbelli, New Risen Throne, Vestigial, Hue, Raffaele Serra, Andrea Ferroni, Stefano Scala, Andrea Ferraris, Andrea Freschi/Subinterior, Claudio Ricciardi (ex member with Roberto Laneri of the historical harmonic chant ensemble Prima Materia?)." [label info]

€18.50

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NIMH & RAPOON

Post-Folk Lore Vol. 1

Format: CD Year: 2020

"Two highly respected and prolific artists join forces for this collaborative release on our Winter-Light label. Nimh (Giuseppe Verticchio) & Rapoon (Robin Storey) recording together for the very first time, combining both of their key musical elements and forging something very new and different in the process. 'Post-Folk Lore Vol.1' is comprised of 4 long pieces created through shared recording sessions between their respective UK and Italian studios. Using traditional instruments, alongside sampled elements and synthesised sounds, Rapoon and Nimh open the door to this newly created Post-Folk space." https://winter-light.bandcamp.com/album/post-folk-lore-vol-1

€13.00

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NOISE-MAKER'S FIFES

Zona Incerta

A Thousand Fields is the first collaboration between Denver, Colorado based artist offthesky (Jason Corder) and Warsaw, Poland based musician Pleq (Bartosz Dziadosz). From the opening restrained "Ashes of America" with intermittant ominous strings through the industrial landscape of "drown under..." with it's glittering glass and harmonious drones breaking through, this work of ambient tapestry sees each artist pulling the best work from one another. Both are veteran experimental and ambient recording artists with dozens of recordings to their credit. Featured on a multitude of labels that read like a roster of contemporary ambient and soundscape recordings - Home Normal, Ephre, Taalem, Databloem, dataObscura, Basses Frequencies, Constellation Tatsu to name just a few. This recording feels like a potential has been met. What has been hinted at in solo and prior collaborations meshed together with an influence of equal parts minimalism, fourth world ambience, field recordings, drone, and experimental composition to a stunning degree. Composition is thrilling when notes are allowed to breathe, to vibrate. A single piano string, the circular slow melody of a violin, as on the nostalgic "Delicate Exit" or the delicate assembly of abstract beauty - distant harp, an interrupted string section, shuffling of feet, a ghostly echo as on "simulacromancer". This is a 2xLP set, mastered by Carl Saff, cut at 45 rpm. It is housed in a tip-on style heavy gatefold sleeve with OBI strip featuring artwork from Pyhai. The first 300 copies will include a bonus 7" entitled "Still Your Bones" (INFX 062 S) with 2 exclusive tracks. The entire pressing is a 500 copy edition, available in white 180g vinyl (limited to 100 copies **White vinyl Sold Out**) and the remaining 400 copies will be on black 180g vinyl. Includes unlimited streaming of A Thousand Fields via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. https://infraction.bandcamp.com/album/a-thousand-fields

€32.00

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OFFTHESKY / PLEQ

Sold out

Format: 7inch Year: 2008

"OVRO has already been called "the wondergirl of Finnish experimental music" and with this, her first ever vinyl-release, she really proves this! On HORIZONTAL / VERTICAL deep waving droning noises are set against vortexing echoes & swirling digital effects, derived from what could be instrumental sources or object recordings, moving the willing listener into a surrealistic subconscious dimension. Especially on the second side the contrasting conrete material can fill your imagination with "something" that "happens", so captivating & condensed! This music spreads like an unconscious aural travelogue in different spatial directions (horizontal & vertical). What makes OVRO so special is her capability to create very "cinematographic" and "narrative" drone-atmospheres or landscapes, with great care for even tiniest details. OVRO is also a part of the SOME PLACE ELSE-association, together with NIKO SKORPIO. Filed under: Subsconscious Travel-Drones more info: www.someplaceelse.net/artists/?id=ovro WHITE VINYL. HANDMADE COVERS PASTED UP WITH NEWSPAPER-SHEETS & FILMSTRIPS" [label info] www.dronerecords.de "Auch OVRO, die mit Horizontal / Vertical (DR-93, white vinyl, red labels) erstmals auf Vinyl zu hören ist, bekennt sich zu einem ‚Anderswo‘, das als Label Some Place Else eine Adresse in Venäjänkangas hat, in den Hinterwäldern von Turku. Dort hat die junge Finnin Musik veröffentlicht - Malice in Underland (2003), Gegendurchgangenzeit (2005), Mosaick the Serpent / Vipera Aurea (2006) und Revisited (2008) und weiteres als Hæretici 7o74, einem Duo mit Niko Skorpio - , die jedem, der sie hörte, in die Zwielichtzone zwischen Tag, Traum und Alptraum entrückte und Geheimnisse zuflüsterte, wie sie Dichter als Krikelkrakel einer anderen Macht zu Papier bringen. Schon das Video zu ‚Equation Impossible‘ macht eine Faszination durch Stummfilmhorror und Schwarzweißfilme von Polanski deutlich. Hier suggiert ein aufgeklebter Filmstreifen auf den handgefertigten EP-Hüllen eine cineastische Qualität der ominösen Klänge, die ins Bewusstsein einsickern wie nichts Gutes. Eine grummelnde Basswelle, wischende, fast krächzende und kaskadierende Loops, die rückwärts und linksherum gegen das Gebot der Zeit verstoßen. ‚Undergrounded‘ und ‚Elevatored‘ steht auf den Auslaufrillen. Man steckt in einem Untergeschoss fest, und das leise Klopfen und Scharren vor der Tür lässt einen zittern, dass sie nicht aufgeht. Oder ist es nur der eigene Puls im Ohr, und schon zittert der furchtsamen Nachtwache in der Hirn-Morgue sprichwörtlich ‚jedes Blatt‘?" [Bad Alchemy]

€7.00

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OVUM

Eld

Format: CD-R Year: 2004

Ein one-tracker (51 Minuten) vom schwedischen dark ambient-Projekt, Zeitlupen-drones und leicht sirrende elektronische Effekte, die ganz langsam niedersinken.... windartige, verhallte Filterrauschsounds verstärken eine Atmosphäre des Unendlichen und Transzendentalen. Sehr schönes Artwork (2-fach Vollfarb-Pappklappcover mit GLUT darauf), insgesamt ein exzellenter dark-drone-ambience Release! TIP !! “OVUM is the main project of Karl Midholm from Sweden, his style may be best described as a mixture of Industrial-Ambient and Drone Music. "Eld" was created in 1999 using recordings of fire as the only sound source. Such recordings were subsequently run through filter banks and effect units, resulting in one fifty minutes long track of evolving beautiful drones. The album was originally intended as part of a various artists set dealing with the four elements that unfortunately was never released. After five years from its creation, it finally see the light of day as another Blade Records / Afe Records co-production.” [label description]

€6.00

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P16.D4

Kühe In 1/2 Trauer

Format: LP Year: 2022

https://www.sonoris.org/product/p16-d4-kuhe-in-12-trauer-lp/ LP version. Reissue, originally released in 1984. P16.D4 was a German electronic noise music collective, active primarily from 1980 to 1988. P16.D4 embraced tape cut-ups, musique concrète, endless recycling, and transformation of previously published material, and many long-distance collaborations with like-minded artists such as DDAA, Vortex Campaign, Nurse With Wound, and Merzbow. Their active participation in the international industrial tape scene yielded collaborative output such as their release Distruct, where bands such as Nurse with Wound, Nocturnal Emissions, Die Tödliche Doris, and The Haters provided the source material. The longest-term collaboration was with the installation and conceptual artist Achim Wollscheid, who used P16.D4 sounds as the basis for LPs he recorded under the name SBOTHI. Ralf Wehowsky, the only constant member of the group, later released solo material under the alias RLW. Members of P16.D4 were also involved with Selektion, a collective of people involved with sound as well as the visual arts. Selektion published LPs, CDs, books, visual art and design. The collective worked in a strongly improvised, spontaneous and anti-professional way, using acoustic and electronic instruments, using existing sound fragments, duplicating and alienating them, using repetition, distortion, changes in speed and playing direction. For this they used not only sounds of other artists but also their own material from earlier productions. Late works of the collective are associated with musique concrete. "This music is staggeringly original and innovative, and while it's possible to locate it in a chain of circumstance that links it to 'industrial' music, P16.D4 indulged in none of the empty cliches associated with the genre, worked incredibly hard, and seem to have been aiming at a form of sound art that was much more profound, varied, subversive, and potentially dangerous. Kühe In 1/2 Trauer's accompanying credits indicate their radical approach to making music: lots of improvisation, lots of live electronics, extensive use of tape-loops, some conventional instrumentation, and much that isn't -- like the milk churn on 'Paris, Morgue' or the use of baking tray and washing machine elsewhere. Even when guitars, drums or keyboards are used, they're played very weirdly. It's not even made clear who was doing what; the main credit is 'Concept,' which I assume means that one of the three devised the framework in which the noise would operate itself, and while RLW gets the lion's share of these credits, a lot of the cuts are evenly divided among the team and I have no doubt that the group operated in a very democratic or libertarian manner. None of this prepares you for the insane and troubling sounds that reach your ears, composed with scant regard for conventional logic and following an exciting, absurdist path, especially in the matter of tape edits and juxtapositions of recordings." --Ed Pinsent, The Sound Projector

€20.00

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P16.D4

Kühe in 1/2 Trauer

Format: CD Year: 2022

P16.D4 was a German electronic noise music collective, active primarily from 1980 to 1988. P16.D4 embraced tape cut-ups, musique concrète, endless recycling and transformation of previously published material, and many long-distance collaborations with like-minded artists such as DDAA, Vortex Campaign, Nurse With Wound, and Merzbow. Their active participation in the international industrial tape scene yielded collaborative output such as their release Distruct, where bands such as Nurse with Wound, Nocturnal Emissions, Die Tödliche Doris, and The Haters provided the source material. The longest-term collaboration was with the installation and conceptual artist Achim Wollscheid, who used P16.D4 sounds as the basis for LPs he recorded under the name SBOTHI. Ralf Wehowsky, the only constant member of the group, later released solo material under the alias RLW. Members of P16.D4 were also involved with Selektion, a collective of people involved with sound as well as the visual arts. Selektion published LPs, CDs, books, visual art and design. The collective worked in a strongly improvised, spontaneous and anti-professional way, using acoustic and electronic instruments, using existing sound fragments, duplicating and alienating them, using repetition, distortion, changes in speed and playing direction. For this they used not only sounds of other artists but also their own material from earlier productions. Late works of the collective are associated with musique concrete. https://www.sonoris.org/product/p16-d4-kuhe-in-12-trauer-lp/ ########################################## “This music is staggeringly original and innovative, and while it’s possible to locate it in a chain of circumstance that links it to ‘Industrial’ music, P16.D4 indulged in none of the empty cliches associated with the genre, worked incredibly hard, and seem to have been aiming at a form of sound art that was much more profound, varied, subversive, and potentially dangerous. Kuhe In 1/2 Trauer’s accompanying credits indicate their radical approach to making music: lots of improvisation, lots of live electronics, extensive use of tape-loops, some conventional instrumentation, and much that isn’t – like the milk churn on ‘Paris, Morgue’ or the use of baking tray and washing machine elsewhere. Even when guitars, drums or keyboards are used, they’re played very weirdly. It’s not even made clear who was doing what; the main credit is ‘Concept,’ which I assume means that one of the three devised the framework in which the noise would operate itself, and while RLW gets the lion’s share of these credits, a lot of the cuts are evenly divided among the team and I have no doubt that the group operated in a very democratic or libertarian manner. None of this prepares you for the insane and troubling sounds that reach your ears, composed with scant regard for conventional logic and following an exciting, absurdist path, especially in the matter of tape edits and juxtapositions of recordings.” Ed Pinsent, The Sound Projector. “Though this German group started out as a the new wave band P.D., by the time of Kuhe in 1/2 Trauer, their first LP under the P16.D4 name from 1984, they had developed far beyond into extremely experimental music similar to other post-industrial artists working with abstract avant-garde soundscapes. There’s a bleak industrial feel to the gritty, lo-fi electronics and tape loops, while the group throws in enough curve balls to keep it interesting. On some pieces, strange, looped choirs bubble out of throbbing pulses and drones of feedback, while others have clanging and clattering, and elements of musique concrète and improvisation blur the boundaries even further. The opening track, “Default Value,” is one of those disorienting pieces with noises flying everywhere, while “Paris Morgue” takes excerpts from one of their old P.D. tracks and messes it up with additional instruments, while the ungainly titled fourth track throws in a heavy texture of percussive noises to create an edgy ambience about to teeter off the edge, and the even darker and more ambient title track takes the tension even further. Arrhythmic and amorphous and capable at moments of becoming quite noisy and abrasive, while at others far more somber and quiet, Kuhe in 1/2 Trauer is quite a fascinating release.” Rolf Semprebon / AMG

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PACIFIC 231 & RAPOON

Palestine

Format: LP + CD Year: 2021

“Palestine” was the first effect of collaboration between two titans of industrial and underground music Pierre “Pacific 231” Jolivet and Robin “Rapoon” Storey. Originally released as limited CD in 2007 by Old Europa Cafe and “Dedicated to the struggling Palestinian Nation and to the memory of Bryn Jones 1961-1999.” Zoharum is proud to present you a first time ever LP reissue of this important album. Given that “Palestine” is dedicated to Muslimgauze and Israeli-Palestinian conflict it’s easy to predict what you’ll find here. Each side of the record presents artists' take on middle eastern rhythm and sound. Side A is raw. For over 20 minutes Jolivet focuses on subtle processing over hypnotic distorted drum loops. On side B Storey takes us on a long, a bit IDM-ish trip following what seems to be Muezzin call. CD contains additional 3 rare tracks that were taken from the limited Old Europa Cafe version of the album and Pacific’s “el-Arish” business card CD. This album is as important due to the subject it touches as it’s true and uncompromising and is still relevant now as it was in the time of its creation. Remastered by Robin Storey. LP edition of 300 copies comes on red translucent 180 g vinyl with CD insert. CD edition of 200 copies comes in a 6 panel ecopack. https://zoharum.bandcamp.com/album/palestine-ext-edit

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PACIFIC 231 & RAPOON

Format: LP Year: 2021

Transversales is very glad to announce the release of « Mémoire Magnétique, vol.2 » spanning 1966-1993, revelatory collection of short and secret music by electronic music pioneer Bernard Parmegiani. The second volume of this compilation allows us to discover some of unreleased rarities from Bernard Parmegiani’s personal archives and unpublished recordings which were composed for the screen or the performing arts. Remastered high-resolution audio transferred directly from the original tapes. Exclusive liner notes and pictures. Musique originale composée, interprétée et enregistrée par Bernard Parmegiani. Production exécutive : Jonathan Fitoussi & Sébastien Rosat. Mastering à partir des bandes originales : Jonathan Fitoussi. Direction artistique & graphisme : Jean-Philippe Talaga. Traduction : Michèle Parent. (P) 2021 Transversales Disques ® sous licence exclusive de Claude-Anne Parmegiani A1 / "Témoignages" - 1972. Générique pour la série télévisée de Pierre Houdain. A2 / "Pop secret" - 1970. Version remixée pour concert de la musique créée avec le groupe "Third Ear Band" au Royal Festival Hall, Londres. A3 / "Voyage Conseil" - 1970. Musique pour la publicité de : "Voyage Conseil". Version non utilisée. A4 / "Lion d'or" - 1988. Générique pour l'émission radio de Georges Léon diffusée sur France Culture le 22/02/1988. A5 / "Flash sports" - 1975. Indicatif de l'émission télévisée éponyme diffusée sur Antenne 2. A6 / "Spot pub" - 1971. Spot publicitaire non identifié, non utilisé. A7 / "Journal TV 2" - 1981. Indicatif du journal télévisé d'Antenne 2. A8 / "Stade 2" - 1976-1986. Indicatif de l'émission : "Stade 2". Antenne 2, émission sport. Animation : Peter Foldès. A9 / "L'art au monde des ténèbres" - 1982. Série documentaire télévisée de Mario Ruspoli. A10 / "Sonal Roissy" - 1971-2005. Signal sonore de l'aéroport Roissy-Charles-de-Gaulle. B1 / "Bongo fuego" - 1967. Film d'animation de Peter Foldès. B2 / "Electrorythmes" - 1966. Version remixée pour concert ; film de Peter Foldès avec la chorégraphe Marpessa Dawn. B3 / "E Pericoloso sporgersi" - (élément) - 1991. Musique radiophonique ; commande de France Culture. B4 / "Une mission éphémère" - 1993. Film d'animation de Piotr Kamler. B5 / "Une honorable partie de Gô" - 1978. Série documentaire télévisée de Jean-Emile Jeannesson, "Lettres du bout du monde". B6 / "Sonal Roissy" - (inédit) - 1971. Maquette de signal sonore pour l'aéroport Roissy-Charles-de-Gaulle. Version non utilisée. https://bernardparmegiani.bandcamp.com/album/m-moire-magn-tique-vol-2-1966-1993 "Belonging to a growing body of previously unreleased work culled from the archives of Bernard Parmegiani, the always incredible Transversales Disques returns with “Mémoire Magnétique, Vol. 2”, the second instalment in their series of albums focusing on the composer’s work for film, television, and the performing arts. An inevitable revelation for even the most devoted of Parmegiani’s fans, we’re also making it available as part of a specially priced bundle with brand new represses of “Mémoire Magnétique, Vol. 1” and “Rock (Bande originale du film, 1982)” for those who missed them the first time around. So good. Over the last few years, the Paris based imprint, Transversales Disques, has set a remarkable standard for archival releases, bringing us a treasure trove of previously unreleased recordings by Pierre Henry, Archie Shepp, Pharoah Sanders, Luc Ferrari, Igor Wakhevitch, Philip Glass, Ariel Kalma, François Bayle, Ennio Morricone, and numerous others. While by no means the limit of their focus, the imprint has offered special attention to works by French pioneers of electronic music, particularly those associated with Groupe de Recherches de Musique Concrète (GRMC) and Groupe de Recherches Musicales (GRM). Central to this modus operandi is the work of Bernard Parmegiani. Back in 2017, they brought us the composer’s incredible 1982 soundtrack, Rock, created for Michel Treguero’s film of the same name, followed by the LP, Mémoire Magnétique, Vol. 1 in 2018. After three years of waiting, the label is back with the second instalment of rare sounds by Parmegiani, Mémoire Magnétique, Vol. 2, accompanied by brand new represses of Mémoire Magnétique, Vol. 1 and Rock (Bande originale du film, 1982), which have been out of print since their initial release. As a special celebration, we’re offering them individually or together as a specially priced bundle. They’re 20th Century electroacoustic music at its absolute height, hugely historically important, and not to be missed. Bernard Parmegiani’s contributions to electronic and electroacoustic practice are now regarded as among the most important in the history of 20th Century Music, but this wasn’t always the case. For much of his career, the composer lingered in the shadow of his more famous peers at Groupe de Recherches - Pierre Schaeffer, Luc Ferrari, François Bayle, etc. Some of this was a consequence of circumstance and idealism. Gifted with a deep belief in access and humor, Parmegiani believed in the profound potential of electronic and electroacoustic sound, seeking to integrate it into everyday life, particularly through forms of mass distribution activated by radio, film, and television. A great deal of his output was created for these contexts - remaining unreleased on physical formats - while he supported himself as a sound engineer and as the head of the Music/Image division of French television. It is into this rarely heard body of recordings which Transversales Disques takes us once again. Like the first instalment, Mémoire Magnétique, Vol. 2 culls its material form the composer’s personal archives and unpublished recordings of material created between 1966 and 1993, focusing specifically on his output for the screen and the performing arts. Standing as a largely unacknowledged counterpoint to more famous works like De Natura Sonorum, La Roue Ferris, Dedans Dehors, Chants Magnétiques, and Chronos - created during same period covered by the collection - these works unveil a lesser-known vision of Parmegiani, one that embedded himself in the subconscious landscape of the French public, with sounds that were often heard without acknowledging their genius or source. Comprising 16 revelatory tracks, of relatively short lengths - from 13 seconds to just over 8 minutes - Mémoire Magnétique, Vol. 2 covers a brilliant range of material, from sci-fi tinged arpeggiating synths, brooding minimalist expanses, semi psychedelic meanderings away with free-flowing texture, pastoral meditations, playful, percussive musique concrète, pieces that flirt on the edges of kosmische and Berlin school electronics, and so much more. Encountering the composer in the throes of his deepest passion - working alongside the visual realm - just when you’d thought you’d heard it all, Transversales Disques digs up more gold from the archives of Bernard Parmegiani, expanding our vision of the astounding talent and range of one of the most important sonic artists of the 20th Century. These previously unreleased rarities have been remastered from the original tapes in high-resolution audio, and come complete with exclusive liner notes and pictures. As engrossing as records come, and an absolute blast to listen to. Not to be missed! Across 17 despite works, Mémoire Magnétique, Vol. 1 spans 24 years of Parmegiani’s output of music designed to integrate with the screen, drawing on a framework the composer developed for research and mutual exchange between sound and image. It should come as no surprise, given the overwhelming creative talent which Parmegiani possessed, that these efforts more than stand on their own when separated from the images with which they were designed to speak. The LP is an overwhelmingly powerful body of revelatory sound. Not unlike his soundtrack for Rock, Mémoire Magnétique, Vol. 1 pushes the boundaries of what the work emerging from Groupe de Recherches is often perceived to have been, if not the very notions of what qualifies as avant-garde. Imbued with Parmegiani’s overwhelming humor and playfulness, it offers nods to a countless range of musical idioms and fields of practice - often painting a dark, dystopian technological, rhythmic landscape with aural touchstones ranging from techno, Kraftwerk, and John Carpenter soundtracks, with a peppering of the clown show, reminding us that Parmegiani began his career as a mime. There’s no question that Transversales Disques is taking the high road, bringing us into wild, wonderful, and often overlooked bodies of organized sound which rewrite almost every standard narrative of history. These works are some of a Bernard Parmegiani which all too few heard, belonging to a way of working which captures the idealism closest to his heart. Absolutely brilliant creatively - a challenging field of imagination and an endlessly thrilling listen. Transferred directly from the original tapes with exclusive liner notes, if you missed the first pressing, don’t sleep. This is an absolute must for any fan of Parmegiani, GRM, soundtracks, and electronic music at large." [Soundohm] https://bernardparmegiani.bandcamp.com/album/m-moire-magn-tique-vol-2-1966-1993

€26.50

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PBK & TELEPHERIQUE

Noise-Ambient Connection

Format: CD Year: 2008

"Noise music exists for many years, but there are still some individuals who are assiduously following their own approach, avoiding any external influence, creating something new and inspiring to get rid of any standards, giving us the idea of unique sounding. Phillip B. Klingler (PBK) is the one such musician. In his 20 years of activity, he walked against the number of noisescapes, painting them over with some secret traces of beauty and beyond. He released some solo works but also collaborations with Dirk Serries (vidnaObmana), Slavek Kwi (Artificial Memory Trace), Asmus Tietchens, Jeph Jerman (Hands To) and even Artemy Artemiev (the son of famous Russian ANS-synth explorer). PBK proposes premium quality music with manifold edges: some hypnotic ambient pieces, some crazy noise collages, but mostly just unclassifiable abstract sound-sculptures. His early works were released on tapes by his own PBK Recordings label and sold out for many years, in the early 90s N D Records published his first couple of CDs: endless labyrinths of dissonances, amorphous soundscapes unfolding from the complex schemes of machine improvisation and stochastic processes. Telepherique is the seminal German project existing since the late 80s and exploring the grey area of the electronic underground. The main person behind it is Klaus Jochim who also was responsible for now defunct tape label Drahtfunk Productions. Besides his own production under various monikers like Technostria and Das Konzentrat, he released some great collaboration tape albums with artists like Brume, Kapotte Muziek, S.Core, Tesendalo, De Fabriek etc. Telepherique uses a lot of synthetic sound sources and sequences, creating unsettling atmosphere from the structured electronic patterns ranging from intense rhythmic work to creepy ambient out-of-body soundscapes. They got initial support from labels like Ant-Zen and Noise Museum, later released some albums through Old Europa Cafe, S.S.S.M., Afe Records and Waystyx. The name Telepherique means "funicular railway" in French, but indirectly also the intention gaining a view from a higher level. This particular album is the first ever collaboration between PBK and Telepherique, it represents yet another breakthrough in the search for a music that is comprehensively exploring 21st century ambient music." [label notes] www.monochromevision.ru/

€13.00

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PBK & ZANSTONES

Mantis Fog Desert

Format: CD Year: 2011

"The new collaboration of PBK and Zan Hoffman (Zanstones) is the experiment in perfect interaction between noise music, ambient approach and electronic sound, with organic and sometimes even psychedelic output. For both artists, being active in the underground music scene for many years, this album is very distinct and peculiar showcase of their endless creative potential. Release date is 27th December 2011. Limited edition of 500 copies in jewelcase." [label info] www.monochromevision.ru

€12.00

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PER ASPERA

Nil Desperandum

Format: CD Year: 2008

Drittes Album dieses uns bisher noch unbekannten polnischen dark ambient-Projekts, das auf NIL DESPERANDUM eine ureigenste Vision von dunkler elektronischer Ambience entwirft, wo sehr minimal & bedächtig instrumentierte Synth-Parts of ebenso spärlich eingesetzte Sakral-Gesänge stoßen, es später aber Bezüge zu 9/11 gibt und die Klänge rauher & experimenteller werden. Ingesamt wirkt das alles sehr ausgereift & überlegt komponiert, 7 Stücke die aufeinander aufbauen. Sehr ambitioniert und fesselnd ! "The third and the most complete release by one of the most talented ambient artists hailing from Poland these days. Unifying vast array of elements, Per Aspera once again achieves remarkably introvert but vibrant style. Eerie industrial atmosphere seamlessly blends with serene harmonies of almost orchestral form. Cinematic, monstrous drone formations morph into pulsating abyss of dissonant disturbances and uncompromised sonic experiments, overlaid by subtle beauty of human voice and minimalist acoustic instrumentation. All those skillful, multiformal explorations establish Nil desperandum one of those albums of complex yet stable musical concept—reflecting the incoherencies of human nature and its immanent affection to chaos and order merged together. Per Aspera tends to render tragically compound heritage of the mankind, being constantly shaped by cultural, ethnic and religious or ideologic discrepancies. Definitely not your average dark–ambient buzz, this album stands out of the dull cliche. The sound may appeal to the admirers of T. Köner, Parca Pace, Nocturnal Emissions or Neubautens to name a few but still, expect no pattern follower. Complemented with special A5–sized glossy digipak designed by Ibsen studio, this CD is limited to 500 copies only." [label info] ".... Whilst it’s ridiculously difficult to be overly innovative within the dark ambient genres, one of the skills a composer must demonstrate is the ability to keep the listener engaged whilst producing a sound that doesn’t show immediate comparisons to one or another artist from within this genre. Thankfully Per Aspera does a fantastic job at both and has created a set of recordings that smack of originality whilst containing a myriad of well executed compositions, rich textural sounds and a wonderfully imaginative evolving plethora of atmospheres that flow from the album. As a dark ambient release this is as good as it gets and sets an impressively high standard immediately, with a faultless album being produced from start to finish. For those who relish in the shadowy undercurrent of rich dark ambient soundscapes ‘Nil Desperadum’ delivers a fabulous journey into this style of music and is welcomed addition to the genre itself and as such is a near prefect introduction for a relatively unknown artist and a label which promises great things, if this is anything to go by." [Judas Kiss] www.newnihilism.com

€13.00

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PHARMAKON

Abandon

Format: LP Year: 2022

Margaret Chardiet was born and raised in New York City. As a founding member of the Red Light District collective in Far Rockaway, NY she has been a figurehead in the underground experimental scene since the age of seventeen. She points out that the environment there amongst so many other experimental artists (amongst them Yellow Tears & Haflings) inspired her to keep making increasingly challenging work. She describes her drive to make noise music as something akin to an exorcism where she is able to express, her “deep-seated need/drive/urge/possession to reach other people and make them FEEL something [specifically] in uncomfortable/confrontational ways.” Engineered by Sean Ragon of Cult of Youth at his self-built recording studio Heaven Street, Abandon is Pharmakon’s first proper studio album and also her first widely distributed release. https://pharmakon.bandcamp.com/album/abandon

€24.00

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PHILLIPS, DAVE

Proceed with Inquiry

"Suntria is a soundscape composition orchestrated, fundamentally, through the use of audio fragments captured from distinct locations of Sintra’s forest, near Lisbon, Portugal. Since remote ages, Sintra’s mountains (in Portuguese, Serra de Sintra) are known as locations of worship and devotion. It is reputed that the Celts, Visigoths, Moorish and Romans were among the people who inhabited and praised these oneiric landscapes before the Lusitanos (the later Portuguese). Throughout the years, Sintra had different toponyms, it is said that the Celts referred to it as Cynthia (meaning the devotion of the moon). It is also given that some Greek and Latin scholars state that Sintra was also denominated as Mons Sacer (Sacred Mount). Ptolemy and the Romans called it Mons Lunae (Mount of the Moon) and, during the Moorish rule of the land, Sintra was denominated as Zintira, Chinra, Xintra, Sentra, until, finally, it was, before its actual designation, named Xentra. From the etymological study of the term there is a curious, but controversial, medieval designation from each Sintra is thought of being derived – Suntria. This possibility presents itself as problematic. The medieval origin of Suntria is supposed to have been derived from the Indo-European (meaning Sun or Luminous Astro). This denomination is controversial because the etymology of the word “Sun”, considering the existing Indo-European branches, puts aside any connection between the term “Suntria” and the significance of the word Sun (except when considering the Gothic [extinct Germanic language] term “Sunno”). Suntria is the title of this composition because, and foremost, the conceptual purpose of the album is not to mimic the sonic landscapes of Sintra’s physical actual locations but to creatively interpret these spaces. Suntria is a hypothetical toponym of a determined physical location, as this composition is an interpretation and recreation of field recordings captured in Sintra’s soundscape. The mystical ambience patent in Sintra’s forest is a national symbol depicted in literature, cinema and architecture by Portuguese and foreigner artists as, for example, Lord Byron, which lived there for a brief period. Sintra’s fauna and flora is as rich as its environment, which configurates a micro-climate totally distinct from the one which predominates in Lisbon, from where it distances not too much. The basilar audio samples that integrate this composition were recorded in the ponds, cascades, forests and beaches of the Sintra-Cascais natural park. Additional sounds were recorded in other (natural / urban) locations of the country (check the cd sleeve for more info). Suntria’s subtitle is imaginal sonotopes, and it is so because what is at stake in the piece is recreating combinations from elements of the soundscape, i.e., of diverse geophonies, biophonies and anthropophonies. According to soundscape ecology, a sonotope is, precisely, the spatial overlapping units or patterns advenient from these contingent conglomerations, which in their turn result on the blending of sonic elements. Suntria is a piece that presents plausible soundscapes through the creative electroacoustic exploration and concrescence of samples that even though, in many cases, belong to the same ontic family (for example: geophony – water in streams, ponds and beaches) were originated and recorded, in terms of spatio-temporal coherence, in distinct locations. One of the main purposes of the album is, therefore, to question the sense of identity and place, concerning to the academic established postulates of soundscape composition. Sounding natural, i.e., as we phenomenologically relate to a sonotope, is one of the main goals of this composition: to make plausible the implausible. One can expect to listen a diverse spectrum of sonic approaches, in between found sounds and abstracted composition, making use of techniques that range from transparent edit, equalization and juxtaposition (phonography) to concrete / acousmatic music procedures (manipulations in the morphological spectrum). In terms of dynamics, the composition reveals subtle quasi-silent moments as saturated and loud events. The same logic prevails in terms of spectral diversity, for Suntria outputs careful sculpting of low, mid and high frequencies, towards a whimsical sound voyage. Finally, all the audio samples were registered through the implementation of various recording techniques: stereo (XY, ORTF [w. matched pair] and MS) and monaural (shotgun, hydrophone and contact mics). Concerning the audio recording devices, various gear was used, from the enhanced mono (low quality) mic of the iPhone and the prosumer mid-level entry recorders (as the Tascam DR-100 MKII / DR-70D), to the professional standard industry level recorders (as Sound Devices 702). Suntria reaches for an aural acuity that invites the listener to perscrutate meaning, purpose/intentionality and ultimately to question the sense of hearing and being in the world." (João Castro Pinto, 10 May 2017)

€14.00

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PLANNING FOR BURIAL

Desideratum

Format: LP Year: 2014

"New Jersey gloom band Planning For Burial will release its first full-length in almost four years this May on SF-based dark music label The Flenser. Titled Desideratum, this album is the band’s first full-length since 2010′s cult hit Leaving (Enemies List). Simultaneously straddling the line between being completely nostalgic and futurist sounding, Planning For Burial is the product of a single wunderkind taking healthy obsessions with certain influences and filtering them through a droning, gloomy spyglass that evokes only the most concrete blues (the emotion not the music) this side of the gray waters of the Atlantic. While Planning For Burial gets lumped in with the whole wave of “bedroom recording artists” (which is where the project toiled for years until Leaving finally was released), the mastermind behind the project sets himself apart from his peers due in no small part to his background in sound. Planning For Burial’s brand of dark shoegaze/gloomgaze is hard to categorize, but it’s sound contains elements of slowcore, shoegaze, doom, drone, 90′s alt rock, 80′s goth, and black metal, while never being defined by any one of those genres. Over the course of the last four years, Planning for Burial has been sporadically popping up in live venues (sharing the stage with a wide breadth of musical compatriots from Chelsea Wolfe to Deafheaven while seeming out of place at none) along the east and west coasts and releasing a slew of EPs and splits on various labels. Now, as Planning for Burial gears up to release Desideratum, the band will also perform a series of live shows – tour dates can be found below. PFB commented, Expected to ship on or before May 13th. LP comes in a heavy jacket with a heavy inner sleeve. The CD version comes in a case-wrapped jacket with an inner sleeve. CD/LP package can be ordered below. The colored vinyl edition is Half & Half Oxblood/Swamp Green and is limited to 200 copies. Inspired by a gloomy Jamison bottle." [label info] theflenser.com

€21.50

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PLEQ

Good Night

Format: maxi-CD Year: 2010

"CD single of one of the most promising artists in the electronica/glitch scene. The title track comes from the forthcoming album "Ballet Mechanic" (scheduled later this fall on Basses Frequences) and 3 exclusive remixes by electronica stars Offthesky and Pjusk and french Philippe Lamy. The most interesting part is that this CD is not just a collection of various remixes, because once put together, you have a real progression in the ambience: each track is a subtle deconstruction of the original track, degrading the feeling step by step, like the deliquescence of the sweet pleasure of a good night sleep when you wake up slowly." [label info] www.bassesfrequences.org

€6.00

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PLEQ & PHILIPPE LAMY

Gravitation

Format: mCDR Year: 2014

"these two artists have already been on taâlem before: pleq for hiscollaborative disc with japanese artist hiroki sasajima ("witch-hunt", may 2012, alm 86) and philippe lamy for his solo disc ("entre deux", june 2013, alm 91). they have already worked together several times since 2011. here they propose us an excellent track with a rather raw and industrial feeling, yet full of strange textures..." [label info] www.taalem.com "...I started out with Pleq and Philippe Lamy's work 'Gravitation'. They both had works before on Taalem, Pleq with his collaborative disc with Hiroki Sasajima (see Vital Weekly 839) and Lamy's 'Entre Deux' (Vital Weekly 890). They work together since 2011, and their twenty-plus minute piece is very nice, and hardly be part of the world of spacious drones, which we more commonly find on Taalem. These two inhabit a world of computer processing along the lines of acousmatic music, musique concrete, feeding field recordings to the zeroes and ones of the computer and cook up a nice, vibrant piece of music. In a constant drift this moves about and may have ambient qualities - especially in the constant flow that is part of this and perhaps in the treated field recordings, it's also very much a work of musique concrete. Spacious collage music, very energetic and one of the best in the Taalem catalogue." [FdW/Vital Weekly]

€5.00

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PLEQ + HIROKI SASAJIMA

Witch-Hunt

Format: mCDR Year: 2012

" "witch-hunt" is a wonderful collaborative track between pleq, the polish busy bee (past productions were released by several international labels like basses frequences, u-cover, dataobscura, somehow, audio gourmet, rural colours or ephre imprint) known for his ambient/glitch productions and the japanese field recordist hiroki sasajima we already know on taâlem thanks to the nature of dislocation 3" we released a few years ago (see here). his previous release were out on mystery sea, unfathomless, impulsive habitat or semper florens. this 24min long track is a beautiful blend of the two artists' skills, perfect mix of drones, field recordings and a few glitches..." [label info] www.taalem.com

€5.00

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PLOTKIN, JAMES & PAAL NILSSEN-LOVE

Death Rattle

Format: CD Year: 2013

" “Death Rattle” is the noise of two forces of nature in collision. Like a pair of clashing typhoons, Philadelphia based avant guitarist James Plotkin and Norwegian free jazz drummer Paal Nilssen-Love generate chaos, disturbance and a terrifying beauty in their first ever collaborative recording. Free jazz and metal-edged rock never chimed so exhilaratingly together before. ‘Paal’s precision and constant invention/reinvention is mind-blowing, only matched by its intensity,’ James enthuses. ‘There’s a very fluid feel to what he’s doing despite the ferocity. Instead of trying to match the chaos, I opted to build a more solid foundation of repetition and melody for him to launch from. I really appreciated the role reversal of drummer and guitarist!’ James Plotkin’s distinctively extreme, aggressive guitar sound has been a constant presence in underground music since the late 1980s, when he founded the metal/industrial band OLD. As a solo artist and as a member of outfits such as Scorn, Khanate, Phantomsmasher, Khlyst and most recently Jodis, he has plotted a nomadic trail through new metal, dark ambient, industrial, noise, grindcore and drone rock. Sought out by Michael Gira, John Zorn, Ikue Mori, Franz Treichler, Francisco López and many more, he has also remixed a wide range of artists from KK Null and Sunn O))) to Pelican, Earth, Nadja and Neu!. ‘I've wanted to work with Paal for the better part of a decade,’ comments James. ‘Stephen O'Malley had played one of Scorch Trio’s discs in the van during a Khanate tour and I could hardly believe it was only one drummer at work.’ Paal Nilssen-Love is one of the most intense drummers working on the planet right now. He grew up in Stavanger, west Norway, where his parents ran the city’s thriving jazz club. In theory he’s now based in Oslo, but there’s a huge global demand for his percussive threshing machine. He’s often travelling on a relentless round of musical projects and festival appearances – notably with Mats Gustafsson in The Thing, his Chicago trio with Ken Vandermark and Ab Baars, the Hairy Bones group with Peter Brötzmann and Toshinori Kondo, a trio with Massimo Pupillo and noise artist Lasse Marhaug, plus duos with Peter Brötzmann, Terrie Ex, John Butcher and others." [label info] www.runegrammofon.com

€15.00

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PLOTKIN, JAMES & PAAL NILSSEN-LOVE

Format: CD Year: 2012

"in 1794, william blake published ‘songs of experience’ as an addendum to ‘songs of innocence’, to complete the picture of ‘the two contrary states of the human soul’ - the state in question here being the constriction of the human spirit, the suffocation of creativity by the force to conform. after magnus sundström aka the protagonist had released his debut ‘à rebours’ in 1998, the sky seemed the only limit for this musical entity. but, to much disappointment within the industrial scene, for the next seven years only a couple of compilation appearances would be heard from the protagonist. then, in 2005 two cds came out via cold meat industry: the aptly titled ‘interim’ ep and the album ‘songs of experience’ (which was actually not entirely a new album, but in parts consisted of reworked versions of the aforementioned compilation tracks and a couple of tracks from the previous ep). the music on ‘songs of experience’ resolved all doubts: the protagonist is a devoted artist, putting quality over quantity, and the result had been well worth waiting! as if no period of inactivity had ever discontinued the creative flow, the protagonist reassumed the path of the debut: orchestral splendour, rigid drumming, dramatic string works and an increased presence of haunting, eerie atmospheres, pushing the album towards the darker edges of the neo-classical spectrum. vocal deliveries are rather sparse and restricted to short spoken parts this time around, but feature prolific guests again: tomas petterson of ordo rosarius equlibrio lent his unmistakeable voice to the protagonist’s most wellknown track, ‘strife’, a truly bombastic marching tune. jonathan grieve of contrastate can also be heard on one track, the heart-shattering ‘sick rose’. among all the opulence, romantic leanings all over, though the whole composition takes a decidedly bleak direction. the adapted literature features not only blake, but also baudelaire (here’s the symbolist theme again) and no other than the master himself, mr. william shakespeare. all in all, music and content combine into one impressive libertine’s manifesto, proclaiming the power of free thought and the mistrust of authorities! for this well-timed re-release, raubbau gathers together not only the original album, but also the exclusive tracks from the ‘interim’ ep, thus presenting the entire bundle of cmi-released protagonist tracks. until today, the protagonist stands out unique among neo-classical artists for the sheer brilliance of composition and the authenticity of his preoccupations - he is really serious about seriousness. history has been revealed, let beauty unfold!" [label info] www.raubbau.org

€6.00

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PROYECTO MIRAGE

Turn it on

Format: CD Year: 2008

"proyecto mirage was founded in 1990 by alicia h. willen and francisco planellas. they were initially influenced by the classic electro-pop of the early nineties (a sound which is still present in their side project bubble gum) but the duo was also attracted to industrial-music projects like s.p.k., whitehouse and - of course - esplendor geométrico. their first release saw the light of day after nine years, and their creative output since then has evolved into more complexity. the hard-floor oriented aggressiveness was enriched with electronic ingredients of all kinds - ranging from electro and electronic body music to techno, drum'n'bass, or even sounds similar to those of experimental 'bridging artists' like aphex twin and pan sonic. artists who share p.m.'s taste for alarming atmospheres, broken melodies and distorted rhythms. 'turn it on' is the conclusion of more then ten years of progression. lashing high-speed dance floor blasts ('cannibal party'), distorted eighties nostalgia (6 6 5, 9), straight breakbeat excursions ('welcome to life'), pounding four-to-the-floor industrial anthems ('salvation', a collaboration with italian experimental/folk mastermind spiritual front), disturbing experimental-core ('darker bex') - this album is a perfect amalgamation of all facets of the electronic assault culture - all of which is welded together to form a powerful statement that encompasses severity as well as humorous wickedness - nobody expects the spanish inquisition! this is what they are, this is where the project is today - take it or leave it. always keep in mind: proyecto mirage is not just an illusion but a concrete reality!" [label info] www.ant-zen.com

€14.00

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PSICO ACUSTICA

iconoclastia sonora literaria # 1

Format: BOOK Year: 2001

Tolles Buch-Magazin aus Portugal, mit vielen Artikeln über oder von Musikern / Künstlern aus dem experimentellen und akademischen Untergrund... Great magazine from Portugal, professionally printed, featuring lots of artists from the experimental & academical underground, but also poetry, reviews, prosa and artworks/ photos. Texts in english & portugesian. “ vol.#1 artigos exclusivos de: | exclusive texts by: John Duncan Ralf Wehowsky Bruce Russell Achim Wollscheid Merzbow The Hafler Trio + Fernando Guerreiro Ian Taylor Paul Buck Paul Green Don David Heliogábalo “ [press-release]

€8.00

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PSYCHIC TV

Alien Be-In

Format: 12inch Year: 2015

"Dark Entries Editions is venturing into new waters with a remix EP of Psychic TV’s classic Acid House song “Alien Be-In”. Psychic TV was formed by Genesis P-Orridge and Peter Christopherson after the breakup of Throbbing Gristle in 1981. After various line up changes, the band shifted direction to dance oriented songs influenced by the Acid House scene in America. By 1988 experimental electronic musician Fred Giannelli, of Turning Shrines, joined the band and over the next 2 years started to record songs for “Toward The Infinite Beat”. The album was a mix of deep, multilayered tracks full of bright and hypnotic dance numbers, providing the soundtrack to the rave culture that sprung up in the UK in the 90s. “Alien Be-In” was written in early 1989 on an E-mu Emax Sampler and an Alesis MMT-8 sequencer. Vocal samples were taken from a tape American investigative reporter Don Bolles sent to Genesis. A didgeridoo rides throughout the song, heavily modulated by a Gristleizer creating a hypnotic effect. Near the end of the song the breakbeat slides out of time yet the band chose to leave this in because it sounded strange and fit the concept of the track. Genesis played a spaced out Echo Violin and the band used 360 degree panning rotation devices. For this reissue Fred Giannelli takes a stab at remixing the mono mix of the original sequence sourced from the Emax floppy discs. On the flip are two brand new mixes, the first from Los Angeles based producer, Silent Servant, who updates the classic with his modern brand of driving EBM techno. The second remix is a team effort from Silent Servant and veteran producer John Tejada, that re-creates the original melody using a Roland TR-808 and TB-303, paying homage to early Chicago Acid House artists like Lil Louis and Robert Owens. All songs have been mastered for vinyl by George Horn at Fantasy Studios in Berkeley. The 12” is housed in a mind-alerting, metallic silver die-cut sleeve and a neon green label that pops through, featuring the psychic skull transformed into an alien cone head label all designed by Eloise Leigh. Each copy includes a 2-sided 11x11 square insert with black and white photo of the band from 1988 and liner notes by Fred Giannelli." [label info] www.darkentriesrecords.com

€16.00

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PUPILLO, MASSIMO

Our Forgotten Ancestors

€13.00

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ROCKENSCHAUB, GERWALD

Private Pleasures

Format: CD Year: 2004

Sowas wie auf dieser CD kommt vielleicht heraus, wenn man den jungen Pop-TIETCHENS (Sky-Phase) zusammen mit einem angetrunkenen SIGTRYGGUR SIGMARSSON und FELIX KUBIN auf Designer-Drogen sowie INOX KAPELL (ohne Drogen, nur natur-stoned) in einen Raum sperrt und einfach machen lässt. Obskur-infantiles elektronisches Rumgefrickel und Gesampele z.T. mit cheapo-Beats versehen – kann man nicht wirklich ernst nehmen, aber genau darin liegt der Reiz ! "gerwald rockenschaub is one of the most wellknown visual artists, currently living in berlin. apart from making art he has been deeply involved with music from the start, playing in bands, dj-ing, organising parties in his former hometown vienna and occasionally composing music which got released mostly through his own definitely something label. "private pleasures" is his first album in more then 5 years, a perfect showcase of his weird and very personal hybrid of half-defunct techno rhythms and a great sensibility for electronic music. comes with beautiful artwork designed by the artist himself." [label info]

€10.00

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RODEN, STEVE / IN BE TWEEN NOISE

Every Color Moving (1988-2003)

Format: 6 x CD BOX Year: 2016

"Every Color Moving' consists of 6 discs, covering 7 hours of the 15 first years of Steve Roden musical activities. The first 4 discs contain unreleased works and impossible to find small editions. The last 2 discs offer a selection of tracks made for compilations during the same period. From the surprising early experiments to the development of his often imitated but never equalled 'lowercase' aesthetic, these are some of Roden's earliest works, documenting numerous rare and unreleased recordings. The discs are accompanied with a 32 page booklet with an essay and extended track notes, written by the artist. Steve Roden (1964) is a visual and sound artist born in Los Angeles. Roden's work includes painting, drawing, sculpture, film video, sound installation, and performance. Roden's earliest musical experience was as the singer of the Los Angeles punk band 'Seditionaries' from 1978 - 1982, performing locally with some famous bands from this scene. Roden's early works moved from loud to quiet in the midst of an emotional crisis at age 18, fueling a shift in his work, with the discovery of Eno's Obscure label. In the early -1990's Roden discovered the Broken Music catalog (an encyclopedic survey of records related to visual artists), offering a context for an artistic practice rooted in both visual and sound art.In 1990 Roden released his first recording on a self-released cassette titled 'the secret of happiness' under the artist name 'in be tween noise'. Since then, Roden has released 45 solo recordings on various labels, alongside numerous collaborations and compilations. By the late 1990's Roden began to use his own name as the artist of his solo recordings. Most of Roden's sound works tend towards using a singular source - such as objects, architectural spaces, field recordings, or texts. These things, become abstracted through humble electronic processes to create new audio spaces, or 'possible landscapes'. In 2000, he used the term 'lowercase' to describe a music that 'bears a certain sense of quiet and humility'. Over the years, he has created a rich and diverse body of work that is uniquely his own, mixing conceptual rigor, experimentation and musicality."

€39.00

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RODEN, STEVE & STEPHEN VITIELLO

The Spaces contained in Each

Format: CD Year: 2014

Steve Roden and Stephen Vitiello are sound artists working at the nexus of sculpture and acoustics. They are professional listeners, embedding themselves in the auditory and relishing that which is encompassed in their horizon of listening. It’s their shared horizon of listening then, that is at the core of The Spaces Contained In Each. Recorded as part of their joint residency on Governor’s Island in New York, this edition documents their installation work created for the unique acoustics of the Cornelius Chapel. Like many of the recordings that populate their solo discographies, The Spaces Contained In Each, dwells in a zone of rich textural soundscapes. Distant bells toll at the edges of perception, field recordings flutter amid bursts of modular synth and other electronics. The sound field is constantly evolving and unfolding as layer upon layer of sound draws you deeper into their sound space. Moments of hushed tonality break into explosive bursts of frequency, though at no time does the work break its auditory suspension of disbelief. This collaboration sounds out new pathways into fields of sound well explored by each of these artists. It marks an accumulation of their works, both individually and as collaborators. Indeed, The Spaces Contained In Each, is an apt metaphor for the sounds presented throughout this edition.

€15.50

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ROSENQVIST, DAG & SIMON SCOTT

Conformists

Format: LP Year: 2010

"Conformists’ is a soundtrack album to the short film of the same name composed by Dag Rosenqvist (aka Jasper TX) and Simon Scott. The origin of the album occurred when Dag was approached by filmmaker Juriaan Booij to provide music for a film he was planning to shoot. Before a single frame was committed to celluloid, the overview provided to Dag was to score a film about how group mentality rules us as humans. Equipped with only this simple brief, access to a handful of storyboard images and stills from the film set, Dag decided to ask friend and colleague Simon to collaborate on the project. Through the long-distance exchange of files, ideas and half-finished tracks, ten pieces were completed for the film score. The resulting soundtrack is music rich in subtlety and nuance. Matching the overarching themes of the film, an undercurrent of menace is present throughout, evoking the feeling of half-forgotten memories and imagery drained of its colour. It should be noted that one of the strengths of ‘Conformists’ is that unlike many film scores, the album also works as an entity in its own right. It was uncertain for a time that the film was going to be completed. As a result of the artists’ creative juices flowing thick and fast, the album was completed as a collaboration based on a film they imagined would be made..." [label info] www.low-point.com

€15.00

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ROTAT

Persisting Calamity

Format: CD Year: 2024

2024 ROTAT album, Finnish harsh noise artists returns on Freak Animal after multiple great CD's done for international labels. Vile colorful 6 panel covers and album worth of straight forward harsh noise.

€13.00

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SAD KARMA

Solis

Format: maxi-CDR Year: 2005

Ziemlich beeindruckende CDR auf ONYXIA von einem (neuen?) Projekt namens SAD KARMA, die vier sehr elegisch-dunkle Stücke komponiert haben, irgendwo zwischen reinen atmosphärischen Klängen und richtigen „Songs“.... etwas elegisch, weirde Gitarren & Analog-Synths, Pianoeinsatz... “SadKarma is the phenomenon of the experience of pleasure, through the perception of balance and proportion of stimulus. It involves the cognition of a balanced form and structure that elicits attraction and appeal towards a person or an inanimate object. SadKarma is the bedlam of organic ambience with decoration & fluctuation in its purest form. The frames of the music bear fragments from certain eras of artists like Swans and Coil but the painting itself has drifting textures far more beautiful. Professionally executed CDR release with full colour sleeve & label. Warmly recommended! Ltd. 200 copies.” [label info]

€7.50

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SAKELLARIOU, YIORGIS

Nympholepsy

Format: maxi-CD Year: 2019

Nympholepsy (23:03) is inspired by the immediate environment and history of ancient messene. The work links the archaic with the contemporary by establishing a dialogue between the ethereal (sound) and the material (the ancient ruins). It is an exploration of the blurred limits between myth and history and the relationship between deities and human beings, nature and the supernatural. The sonic material is based on the voice of Savina Yannatou which is manipulated and combined with environmental recordings. In memory of my father Costas Sakellariou Nympholepsy was premiered on June 3, 2018 at Tuned City - Ancient Mesene - Athens (OCC) as part of the INTERFACES project and co-funded by the Creative Europe program of the European Union. Special thanks to: Savina Yannatou, Carsten Stabenow, Manolis Manousakis, John Grzinich, Nikolas Malevicius and the production and technical team of OCC. noise-below.bandcamp.com mechaorga.wordpress.com https://mecha-orga.bandcamp.com/album/nympholepsy "Yiorgis Sakellariou’s Nympholepsy is a portrait in sound of the historical ghosts inhabiting the ruins of Ancient Messene, a city on the Greek peninsula of The Peloponnese. Over the centuries, the site saw several waves of settlement and conquest, of building, destruction and reconstruction, beginning with foundation by the Achaeans and culminating with the city’s reestablishment in 369 BCE after the defeat of Sparta by Thebes at Leuctra. Much more recently–in 2018–the ruins of Ancient Messene were the focus of a Tuned City event in which a number of sound artists were commissioned to explore the themes of place and memory and their implications for the situated nature of listening. Sakellariou was one of the artists invited to participate; Nympholepsy is the work that resulted. The audio interpretation of an ancient city would seem to be a natural fit for Sakellariou. Trained as an ethnomusicologist and active since the early 2000s as a composer of electronic music and a field recordist, Sakellariou has produced a body of work largely concerned with ferreting out and disclosing the networks of association that tie together an environment and the listeners situated within it. For Nympholepsy he took field recordings of Ancient Messene and combined them with manipulated recordings of the voice of Savina Yannetou, a Greek vocalist as conversant with early music as she is with contemporary improvisation. Sakellariou alters the sound of Yannetou’s voice artfully, changing its pitch and timbre, setting up rhythmic patterns and blocks of sound, and occasionally stripping it down to traces of its grain with the underlying breath exposed. Structurally, the twenty-three minute-long piece is a work of accumulation and densification as Sakellariou adds layers of sound elements and pressures them into thickening masses—an especially appropriate response to a place that itself was the product of an accretion of peoples and their material cultures over long periods of time." [Daniel Barbiero / Avant Music News]

€8.00

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SAKELLARIOU, YIORGIS

Auka

Format: mCD-R Year: 2020

“for music is certainly the ultimate mystery of faith, the mystique, the completely revealed religion” (ludwig tieck) the title is inspired by the painting "auka" by m. k. Čiurlionis. many thanks to gailė griciūtė, dominykas digimas, daniel crokaert and jean-marc boucher. “auka” was composed in august 2019 during a residency at DAR (Druskininkai Artists‘ Residence), organized and supported by the lithuanian composers’ union. environmental sounds recorded in vilnius, kaunas, elektrėnai and druskininkai, lithuania from november 2018 till august 2019. https://taalem.bandcamp.com/album/auka-alm-137 "While the label says they explore the various ways of ambient music they proof here with the release by Yiorgis Sakellariou they don't mind going an extra mile; or two. Sakellariou is a composer of music created with the use of field recordings. You might know this from my previous reviews of his work. On 'Auka' (inspired by a painting by m. k. Ciurlionis, and Auka meaning 'sacrifice') he uses field recordings from Vilnius, Kaunas, Elektrėnai and Druskininkai, all cities in Lithuania. Using field recordings, I would think, is nothing unusual in the world of Taalem, but Sakellariou uses his field recordings as they are, and does not apply any sort of manipulation to it (save, perhaps, for some equalization). He uses these sounds as they are and it is in the combination of these sounds to create the composition. A lot of the time one has no idea what these sounds are; crackling of leaves, branches, static electricity, metal staircases; that is the sort thing believe to hear. Another very un-Taalem thing is that Sakellariou uses a lot of dynamics in his music, and this piece is not different. There are two distinct loud passages in this piece but also some very quiet, near-silent passages. This is not your standard ambient music, but rather a musique concrète work and Sakellariou is a refined composer in that field. Perhaps, this work will be something of a shock for some people but I love it. It is a powerful work full of the near-by and far away sounds, unusual spaces to record them in and an intense listening experience." [FdW / Vital Weekly]

€5.50

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SALA

En-trance

Format: CD Year: 2005

Zweites Album dieses Projekts auf AUTARKEIA, dem litauischen Label. Wilder und perkussiver als „Shcut ente..“, werden hier schamanistische Tänze & Ekstasen aufgeführt, alles handgespielt und ungeordnet, Blasinstrumente, beschwörende Vocals & Geschrei.... im gleichen Geiste wie Z’EV, 23SKIDOO, alte PSYCHIC TV, aber auch VIBRACATHEDRAL ORCHESTRA oder wilde MAEROR TRI oder rituelle HYBRYDS kommen einem in den Sinn... und wieder duftet die CD nach MANDELN. “En-trance” was recorded, but still wasn’t released by the magic-practising artists almost a decade ago. This album compiles two lasting live-recorded tracks. Ritual pulsing, archaic sound of wind instruments, deep-dark “ambient” and surrealistic, unexpected music bends immersing the audience to the swirl of phantasmagoric moods. There are some movies classified as of the “noir” stylistics, the main feature of which is highly forcible and strong atmosphere. If the records also have the classification of the “noir”, “En-trance” could be considered one of the most emphatic works of this style. Emotions generated by the “En-trance” music could be compared with the psychedelic atmosphere of the first albums of NWW, Hybryds. Interesting record and mystic ritual having sustained the challenge of social disregard during the years. Album's tracks listing: 1. neophile gets ex-sited 2. and now s-he starts laughing Album lasts for 40 min. 36 sec. It’s packed in a nontypical black plastic DVD case. Limited edition 500 copies. CD is covered with special lackuer which smells like an almond.“ [label info] www.autarkeia.org

€12.00

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SALA

Shcut enteRing worts

Format: CD Year: 2004

Wer auf beschwörenden Okkult-Ambient-Industrial steht, ist bei SALA genau richtig. Geisterhaft tönende Loops & verfremdete Stimmenfetzen, Glöckchen- oder Triangelsounds, alles in sehr hypnotischer Bewegung irgendwo im Hallraum tauchen seltsame Geräusche auf (Akustikgitarren).... gewidmet Jhonn Balance! “Shcut enteRing worts” consists of two forceful tracks of “ritual ambient” style. They are not distinguished in the compact disk as the ritual couldn’t and shouldn’t be accelerated or perceived in separated pieces. Starting from hypnotic “mantra”, music gradually unravels to the strong and mystical “ambient”, the main feature of which being reiteration transmitted by the sound loops. These are organically supplemented by the tabors, bells, magic spells and mysterious sounds floating from the distance and generating only the strong mystic mood of the audience. Actually, concerning the impact, this music is in line with the works of world’s famous artists acting in this field – Coil, NWW, Omenya, Hybryds, Deutsch Nepal. The “Schut enteRing worts” album was recorded by the participants of SALA project when experimenting with Brion Gysin’s dream machine, which formerly inspired the well-known William S.Burroughs and had a strong psychedelic effect. Album's tracks listing: 1. His: Entering The Dream 2. The Last Words Of Hassan Sabbah Album lasts for 36 min. 26 sec. It’s packed in a nontypical black plastic DVD case. We recommend you to listen to “Schut enteRing worts” only on Hi-fi stereo. Limited edition 500 copies. CD is covered with special lackuer which smells like an almond.” [label info] www.autarkeia.org

€12.00

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SALOMAN, GABRIEL

Movement Building Vol. 3

Format: LP Year: 2017

Shelter Press has made good on its promise to deliver the third and final volume of its series featuring Gabriel Saloman, released both on vinyl and collected with Movement Building Vol. I (2014) and Vol. II (2015) as a double CD. For fans of Saloman’s post-Yellow Swans work – an already dense catalog of darkly cinematic compositions mostly conceived as accompaniment to some of Vancouver’s edgier contemporary dance companies, Movement Building Vol. III is not only a much anticipated conclusion to this trilogy, it is the most fully realized album in years. Where as Movement Building Vol. I & II acted primarily as documentation of time-based artworks, Movement Building Vol. III offers a more coherent and narratively rich album that will appeal to admirers of Soldier’s Requiem (Miasmah, 2013). Listeners will recognize the emotive bowed strings, militant percussion and searing guitar eruptions that evoked memory and trauma in that previous album. Joining this pallet are other familiar Saloman sounds: shoegaze washes of distorted guitar, minimalist piano attacks, melancholic appregiated melodies, and a patina of harsh noise. Added to this is a more 21st Century approach to drums and bass, perhaps an effect of his collaborations with producer Michael Red in their dub-ambient project Chambers. Saloman’s music has never sat comfortably in any genre, sharing with a select cohort of other artists (Stephen O’Malley, Lawrence English, Grouper, Kreng, Tim Hecker, among others) an ambiguous position between “modern classical”, “electronic music”, and the more outer limits of metal. Movement Building Vol. III doesn’t clarify as much as it expands Saloman’s oeuvre further into an idiosyncratic musical no-man’s land that fails to be faithful to any popular musical trend – contemporary, retro or futurist. Movement Building Vol. III’s themes are taken from the dance it was composed for, 2015’s What Belongs To You, created by longtime collaborator Vanessa Goodman (Adhere, Soldier’s Requiem). That work sent its dancers through a physical journey exploring the needs of the body, for shelter, for love and for self-actualization, roughly aligned to Abraham Maslow’s “hierarchy of needs”. The resulting album seems to achingly soundtrack the struggle for survival, not simply for bare life but for something greater and more transcendent that would make survival have meaning. It holds dread and hope in equal parts, never quite giving away the end of the story. Though this record was recorded two years ago Movement Building Vol. III could be the perfect album for our current era of civilizational near-collapse, whether at the hands of maniacal politicians, the slow burn of the Anthropocene or the constant enclosure of the corporate driven, social media enabled surveillance state. Movement Building Vol. III arrives both as a stand alone vinyl release, and as part of a collection of all three volumes packaged in one double CD. The collection of these works allows one to see clearly Saloman’s techniques and approaches to a relatively limited number of instruments – guitar, percussion, occasional piano and tape. Movement Building Vol. I is presented as one continuous piece, moving through an extended set of drone and loping drum play before climaxing in the kind of glorious guitar chording most often associated with My Bloody Valentine, GSYBE or Mono. Movement Building Vol. II explores various combinations of drum and drone, ASMR inducing high end clatter and the now infamous take on Miles Davis’ classic My Funny Valentine. The digital versions of these albums, mastered by Helmut Erler at Berlin’s Dubplates & Mastering, restore to them their full range of frequency and dynamics, providing a deeper glimpse into the theatrical origins of their composition. Movement Building Vol. III is not only the final installment in Shelter Press’ series but also represents the culmination of a prolific period of creation for Saloman that began with 2012’s Adhere. From 2011-2016, Saloman produced dozens of recordings in collaboration with various dance artists. Currently living in Santa Cruz, California, and working on a PhD concerning noise and protest, it’s unclear how a new home and a new political reality will shape the music he makes next. One thing is for certain: it’s unlikely that Saloman will be silent for long. shelter-press.org/gabriel-salomanmovement-building-vol-3/

€20.00

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SALOMAN, GABRIEL

Movement Building

€15.00

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SHRINE & MYTRIP

Descent

"Skyscaper is one of the many aliases belonging to none other than gterma's longtime mastering wizard Anders Peterson. Rescape is a reinterpretation of the original Atmospheric Stratification album (originally released on Anders' own Ghost Sounds label in 2012) with the help from several well known artists usually found in the dubtechno field. Imagine ascending into the heavens during a slowly building stormfront as immesurable walls of energy are about to be unleashed." https://gterma.bandcamp.com/album/atmospheric-stratification-rescape

€12.00

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SLIM VIC

Personliga Artiklar

Format: LP Year: 2017

Personliga artiklar (Personal items) is pure electrical energy from the bottom of rage to clean sanded adventurous sound hypnosis. Slim Vics music mixes sound worlds with clear impact in sound art and darkest ambient, likewise small flirts with underground-based techno and IDM. The album is a selection of previously unreleased material mixed with music that only existed on single or remixed versions earlier, personal articles. One of Sweden’s most prominent artists in the spray painting, Rolfcarlwerner, has created all the artwork for the album. The cover to the original painting was painted directly inspired by the album’s sound world and was shown at the exhibition ‘Outside in 4.0′ at the gallery Erik Axl Sund in Stockholm winter in 2016. Artwork by Rolfcarlwerner Mastered by Joakim Westlund www.lamour.se

€16.00

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SLOWDIVE

Everything is Alive (Crystal Clear vinyl)

Format: LP Year: 2023

Sechs Jahre nach dem monumentalen Comeback mit dem selbstbetitelten Album, finden slowdive - bestehend aus Rachel Goswell und Neil Halstead (beide Vocs und Git.), Christian Savill (Git.), Nick Chaplin (Bass) und Drummer Simon Scott - auf "everything is alive" immer mehr Konturen ihres eindringlichen, elementaren Sounds. Das fünfte Album der Shoegaze-Giganten enthält die Dualität einer vertrauten inneren Sprache, gemischt mit der Exaltiertheit von Neuanfängen. "everything is alive" ist transportierend, suchend und leuchtend, das Werk einer klassischen Band, die ihre unverwechselbare Stimme weiter in die Zukunft richtet. Das neue Album begann mit Halstead in der Rolle des Autors und Produzenten, der zu Hause an Demos arbeitete. Halstead experimentierte mit modularen Synthesizern und stellte sich "everything is alive" ursprünglich als ein "minimaleres elektronisches Album" vor. Die kollektive Entscheidungsfindung von slowdive führte die Band schließlich zurück zu ihren charakteristischen, mit Hall durchtränkten Gitarren, aber dieses erste Konzept sickerte in die Kompositionen ein. "Wenn wir als Band alle damit zufrieden sind, ist das tendenziell das stärkere Material. Wir sind immer aus leicht unterschiedlichen Richtungen gekommen, und die besten Stücke sind dort, wo wir uns alle in der Mitte treffen", sagt Halstead. "slowdive ist vor allem die Summe seiner Teile", fügt Goswell hinzu. "Wenn wir fünf in einem Raum zusammenkommen, passiert etwas Undefinierbares." Der mehrjährige Aufnahmeprozess begann im Herbst 2020 im Courtyard Studio, wo die Band schon immer aufgenommen hat, setzte sich dann in Oxfordshire und in der umliegenden Heide von Lincolnshire fort, um dann wieder zurück in Neils eigenes Studio in Cornwall zu gelangen. Anfang 2022 holte die Band Shawn Everett (The War On Drugs, Alvvays, SZA) ins Studio, um sechs der acht Tracks des Albums abzumischen. "everything is alive" ist genau das, was der Titel andeutet: eine Erkundung der schillernden Natur des Lebens und der universellen Berührungspunkte darin. Mit seinen psychedelischen Klanglandschaften, pulsierenden 80er-Jahre-Elektronik-Elementen und John Cale-inspirierten Reisen wirkt das Album sofort wie etwas, das für die Zukunft gemacht ist; das passt, denn die Fangemeinde der Band ist im Laufe der Zeit immer jünger geworden, und ihr Einfluss auf vorwärts denkende Musik-Künstler*innen ist ungebrochen. Für ein Genre, das oft als spalterisch angesehen wird und oft Introspektion rechtfertigt, zeigen slowdive hier, dass sie ihr Handwerk beherrschen, indem sie es über das Singuläre hinaus vorantreiben; das Endergebnis ist eine Platte, die sich ebenso emotional und kathartisch wie optimistisch anfühlt. The fifth album from shoegaze giants Slowdive contains the duality of a familiar internal language mixed with the exaltation of new beginnings. everything is alive is transportive, searching and aglow, the work of a classic band continuing to pitch its unmistakable voice to the future. Six years after the group’s monumental self-titled album, everything is alive finds Slowdive—vocalists and guitarists Rachel Goswell and Neil Halstead, guitarist Christian Savill, bassist Nick Chaplin, and drummer Simon Scott—locating evermore contours of its immersive, elemental sound. The new record began with Halstead in the role of writer and producer, working on demos at home. Experimenting with modular synths, Halstead originally conceived of everything is alive as a “more minimal electronic record.” Slowdive’s collective decision-making ultimately drew the group back towards their signature reverb-drenched guitars, but that first concept seeped into the compositions. “As a band, when we’re all happy with it, that tends to be the stronger material,” Halstead says. “We’ve always come from slightly different directions, and the best bits are where we all meet in the middle.” The convergence of five unique characters has made the sound. “Slowdive is very much the sum of its parts,” Goswell adds. “Something unquantifiable happens when the five of us come together in a room.” The group’s projected studio sessions for everything is alive, in April 2020, were naturally scrapped, and when the group finally did meet up, six months later, at Courtyard Studio, where they’ve historically recorded, the mood was jubilant. (Finally, they had a proper reason to leave the house.) That was the beginning of a multi-year recording process, which moved from Oxfordshire and into the Wolds of Lincolnshire and back to Neil’s own Cornish studio before extending into February 2022, when the band brought in mixer Shawn Everett (The War On Drugs, SZA, Alvvays) to mix six of the record’s eight tracks. Owing to their deep history, there’s a palpable familial energy to Slowdive in 2023. everything is alive is dedicated to Goswell’s mother and Scott’s father, who both died in 2020. “There were some profound shifts for some of us personally,” Goswell says. Those crossroads are reflected in the many-layered emotional tenor of Slowdive’s music; everything is alive is heavy with experience, but each note is poised, wise, and necessarily pitched to hope. Its unique alchemy subtly embodies both sadness and gratitude, groundedness and uplift. Reflecting on “kisses,” which may be Slowdive’s surest pop moment yet, Halstead said, “It wouldn’t feel right to make a really dark record right now. The album is quite eclectic emotionally, but it does feel hopeful.” everything is alive, is exactly what the title suggests: an exploration into the shimmering nature of life and the universal touch points within it. Spanning psychedelic soundscapes, pulsating 80’s electronic elements and John Cale inspired journeys, the album lands immediately as something made for the future; which figures, as their fanbase has grown younger and younger as time has gone on, and their influence on forward thinking musical artists continues to prevail. For a genre that is often thought of as divisive, and often warrants introspection, here Slowdive show their craft as the masters of it by pushing it outwards, beyond the singular; the end result being a record which feels as emotional and cathartic as it is optimistic. https://slowdive.bandcamp.com/album/everything-is-alive

€26.50

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SMITH, CHAS

An Hour Out of Desert Center

After a series of collaborative publications on multiple experimental labels, the duo of Toni Dimitrov (Sound_00) & Boban Ristevski (Lefterna) finds its 'Elementals: Collabs 2' conceptual release on Winter-Light. 'Elementals: Collabs 2' is an ambient/experimental release of deep drone contemplations and ambient exploration, good for deep meditative and learning sessions. 'Elementals' gathers together selected collaborative works from the artists Sound_00 + Lefterna. All tracks have previously been released separately on compilations from the labels Fall Into Void, Post Global Recordings, HNM Recordings, AOsmosis and Crna Zemlja. For this release on our Winter-Light label, the tracks have been completely remastered by Cruel Sound Works, adding a richer, more distinctive warm feel to each piece. Glass mastered CD comes in a 4-panel full colour digi pack. 7 tracks with a total running time of 77:23 mins. winter-light.bandcamp.com/album/elementals- collabs-2 "Quite some years ago, Sound_00, the musical project of Toni Dimitrov was an active force in the world of net labels and CDRs (this was before cassettes became hip again), but he disappeared for a while, for reasons I don’t know but I see his name popping up again and here he has seven pieces recorded in collaboration with Boban Ristevski, also known as Lefterna, and who, also many moons ago, wrote reviews for this rag. Apparently they have been working together for some time now, and released their work on compilations on such imprints as all Into Void, Post Global Recordings, HNM Recordings, AOsmosis and Crna Zemlja. Not that I heard any of these. This collection sees these pieces re-mastered by Cruel Sound Works, “adding a richer, more distinctive warm feel to each piece”. These are quite lengthy pieces of music, somewhere between seven and fifteen minutes, dealing with field recordings, processed and otherwise, and to which a bunch of electronics are added. There is a strong love for field recordings that contain a lot of water, rain, running taps or river streams; that sort of thing. By way of processing and adding effects and electronics it comes out as a deep wash of atmospheric drone music. I can’t say if these are now warmer than before, but they sound pretty much all right to these ears. There is the dash of reverb, set to a cavernous setting to suggest that spooky touch, which is something that you can find on all these releases, by this label, and in general with this kind of music. This is music that one should undergo and feel, rather than rationalize about. Like many of the other isolationist musicians it seems less about composing and more about letting sounds wander freely inside a bunch of sound effects but it becomes a very nice work indeed." [FdW/Vital Weekly]

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SPARHAWK, ALAN

Solo Guitar

Format: CD Year: 2006

Solo-Album des LOW-Frontmanns! Und er hat definitiv den "Drone-Blues", einiges erinnert an RAFAEL TORAL, es gibt reine schillernde drone-fields, die aber immer wieder unterbrochen werden von einsam-bluesigen Notes oder Solos, aber auch von heftigeren Ausbrüchen..... "Alan Sparhawk is best known for his work in his minimalist-pop band Low & his angst-ridden-blues band The Black-Eyed Snakes. His solo guitar-work follows sounds hinted at on songs like "Do You Know How To Waltz" or the Songs for a Dead Pilot version of "Will the Night". Reverb driven ambient guitar experiments like other Silber artists Remora, Aarktica, & Mike VanPortfleet." [label info]

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SPECIAL INTERESTS (MAG)

No. 9

Format: mag Year: 2013

SPECIAL INTERESTS #9 (June 2013) B5/84 pages Cover Artists Coelho / Sektor 304 Essential albums MK9 Prurient Recommended books: -MK9 -J.Jerman Interviews: – Jaakko Vanhala – Sektor 304 – Das Synthetische Mischgewebe – Pogrom – Mikkel Rorbo (Alleypisser etc) – Foetus Live noise feature with Haters, Con-Dom, Keränen + artwork by Tisbor harsh noise 2013 feature With The Rita, Being, Tourette, Developer, Alogirl. Massive 84 pages B5 size issue!!! Interviews: Jaakko Vanhala. Sektor 304. Das Synthetische Mischgewebe. Pogrom. Mikkel Rorbo (Alleypisser. etc..). Foetus. Cover Artists: Coelho / Sektor 304 Essential albums feature with: MK9 and Prurient. Recommended books by MK9 and J.Jerman. Live noise feature with Haters. Con-Dom. Keränen. Harsh noise 2013 feature with The Rita. Being. Tourette. Developer. Alogirl. Reviews.

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SRVTR I INTERNAL FUSION I DARDIS I A.MAIAH

Thing

Format: CD-R Year: 2022

n 2022, attenuation circuit starts a new series of four-way split albums called THING. The aim is to provide a medium for exchange and presentation of a great variety of artists. As each artist spreads the copies to their network, listeners also get to know the other artists featured on the same disc. The title references the fact that the CDs are physical objects – things! – but also refers to the 'thing' or 'ding' in old Norse and other Germanic languages, which designates the place of a popular assembly or the assembly itself and thus alludes to the 'meeting-place' character of the albums on (or around) which the four artists and their audiences meet, if only virtually. https://emerge.bandcamp.com/album/thing-4 With the fourth issue of the THING series, attenuation circuit unites newcomers to the label roster – sound artist and poet Dardis from Northern Ireland and post-psychedelic guitar experimenter A.Maiah from Spain – with the French-based acts SRVTR and Internal Fusion, who were previously featured on the label. The four tracks of the album could be considered a study in how loops/rhythms can evolve into drones and the other way around. Whenever a 'beat' appears, however, it's not a programmed drum-machine sound, but always loops created from found sounds. This makes a compelling case for repetitive rhythms as a method for experimental music, or experimental hearing: if you hear a sound repeated often enough, sometimes it takes on an aspect that would remain unnoticed at first hearing. File under: electroacoustic, ambient

€8.00

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STARGAZER'S ASSISTANT

Mirrors & Tides, Shivers & Voids

Format: CD Year: 2019

"Eyes closed, ears wide open, we are given freedom to dream the void. Sweeping, intricate, sometimes ominous yet always exuding a warmth and depth of emotion, The Stargazer’s Assistant produces pure cinema of sound. For this record David J. Smith (Guapo) is joined by Circle vocalist Mika Rättö’, who sings on the heartbreaking “Coral Butterfly”. David also had the honour of playing the late Finnish jazz drummer Edward Vesala’s Sound & Fury collection of unique metal percussion. Ancient forests, vast plains, billowing clouds, rusted metal hulks, wet rock walls, light flickering in dark: these are the subtle visions of The Stargazer’s Assistant. Originally released on Utech Records in 2013 as a double 10” vinyl this recording is now available for the first time on CD. David J. Smith, perhaps best known as the band leader & drummer of avant garde rock group Guapo, formed The Stargazer’s Assistant in 2007. Originally a solo recording project set up to provide soundtracks for his work as a visual artist, it has since grown to encompass live concerts and collaborations with film makers and performance artists. The group is at present a trio comprising: David J. Knight (Danielle Dax, Lydia Lunch) with whom Smith also performs in the group UnicaZürn (together with Stephen Thrower - Coil, Cyclobe) and Michael J. York (Coil, Cyclobe, Teleplasmiste). Smith & York have collaborated since working together from 2012 in the live incarnation of Stephen Thrower and Ossian Brown’s group Cyclobe. 2018 saw the latest release Resurgam I, Resurgam II on House Of Mythology (the follow up to their 2016 debut for the label - the double LP Remoteness Of Light). Smith is currently working on a film for the Resurgam pieces with artist Maurice Burns. https://zoharum.bandcamp.com/album/mirrors-tides-shivers-voids

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STELZER, HOWARD & JASON TALBOT

Songs

Format: CD Year: 2003

„Intransitive Recordings is proud to present the long-awaited debut CD by Howard Stelzer and Jason Talbot. "Songs" contains eight concise pieces of electro-acoustic music created from cassette tapes and a single turntable. Since the duo's inception on 1999, they have worked toward developing a unified, improvisatory sonic language by approaching their machines in a decidedly instrumental manner. For their first album, Stelzer & Talbot take inspiration from artists such as Schimpfluch-Gruppe, P16.D4, SBOTHI, as well as musique concrete and contemporary free improvisation, arriving at a voice entirely their own. The duo's music demonstrates a raw passion and energy, anchored by tense silences. Stelzer and Talbot have toured extensively, collaborating with artists as diverse as Kevin Drumm, Martin Tetreault, Haco, Gert-Jan Prins, Keith Fullerton Whitman/Hrvatski, Roel Meelkop, Le Quan Ninh, nmperign, Christian Renou/Brume, Brendan Murray, Brent Gutzeit, Jack Wright, Ron Lessard, and Jason Lescalleet. In addition, Stelzer has performed with Axel Doerner, Jos Smolders, Jerome Noetinger, Lionel Marchetti, James Coleman, and Andrea Neumann, and is a member of Bhob Rainey's large ensemble the BSC, whose first CD is forthcoming on Grob this summer. Stelzer runs the Intransitive Recordings label, and Talbot the Kissy Records label. They live in Boston, Massachusetts.” [press-release]

€7.50

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STETSON, COLIN

New History Warfare Vol. 2: Judges

Format: LP & CD Year: 2011

"Colin Stetson is a horn player of uncommon strength, skill and genre-defying creativity. He composes and performs otherworldly songs that combine a mastery of circular breathing technique with percussive valve-work and reed vocalisations, making a polyphonic solo music that combines influences as diverse as Bach, early metal, American pre-war Gospel, and the explorations of Jimi Hendrix, Peter Brotzman and Albert Ayler. Colin has been making his mark as a staggering solo performer for several years now, in front of audiences small and large, from intimate jazz and experimental music venues to big stages, whether opening for Arcade Fire or The National, or playing at jazz and new music festivals like Moers and London Jazz. His talents have been widely recognised and employed by artists as diverse as Tom Waits, Laurie Anderson, TV On The Radio and Bon Iver; he also plays in Bell Orchestre and Sway Machinery. Stetson's live solo performances are absolutely stunning and uncategorisable and he conveys a commensurate intensity and iconoclasm on this new studio album of original material. New History Warfare Vol. 2: Judges is Stetson's second solo record and his first for Constellation. Stetson is able to weave an uninterrupted flow of arpeggiated swirls and chordal progressions while simultaneously singing yearning melodic lines through the reed of his horn – a technically powerful combination, exponentially intensified by Colin's innate sense of pace, phrasing and trajectory. Stetson approaches his solo work with one foot firmly rooted in a pop sensibility, harmonically and in terms of overall song structure – a sensibility on fine display in longer pieces like "Judges", "The Stars In His Head (Dark Lights Remix)" , "Clothed In The Skin Of The Dead" and "Fear Of The Unknown And The Blazing Sun". He can paint short, ecstatic spirals of rapid-fire ostinati that move through the entire range of the instrument, full of subtle rhythmic shifts and filigree, as with "The Righteous Wrath Of An Honourable Man", "From No Part Of Me Could I Summon A Voice" and "A Dream Of Water", all of which clock in at the 2-3 minute range (and the last of which features a spoken word vocal by Laurie Anderson). Colin can also shred, especially when rallying the full force of the bass saxophone, whether in the foghorn blasts that open the album or the gasping syncopated pulse of "Red Horse (Judges II)". The seamless, steamy, multi-timbral drone that underpins Shara Worden's guest vocal on "Lord I Just Can't Keep From Crying Sometimes" demonstrates another side of Colin's mastery and sensibility. The music on New History Warfare Vol. 2: Judges was captured entirely live in single takes at Montréal's Hotel2Tango studio, with no overdubs or looping, using over 20 mics positioned close and far throughout the live room. Guest vocals by Laurie Anderson and Shara Worden (My Brightest Diamond) are the only exceptions to this rule, along with one brief french horn that was multi-tracked. The Judges sessions were co-produced by Stetson and Shahzad Ismaily and engineered by Efrim Menuck at the Hotel2Tango, then taken to Greenhouse Studios in Reykjavik and mixed by Ben Frost, the critically acclaimed experimental electronic/ambient composer and producer whose shared influences of minimalism, noise and black metal made him the perfect choice for a bold and unconventional approach to the raw material. Frost pushes and pans different mic signals to the fore from song to song (and within songs), eliciting a cornucopia of details and extremes in Colin's playing and highlighting the complexity of sounds generated by a single horn in Stetson's hands. Rhythms are formed by clicking keys, minute textures are brought forward by running ambient mics extremely hot, and low end is at times pushed fully into the red to devastating effect. Mastering by Mell Dettmer provides the final touch. The result is a highly original, experimental, euphoric record that fires on all levels: a document of an astoundingly strong and gifted player; a compositional tour-de-force; and a studio production bursting with intensity and inventiveness." [label info] www.cstrecords.com https://colinstetson.bandcamp.com/album/new-history-warfare-vol-2-judges-3

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STETSON, COLIN

SWANS Leaving Meaning is the band’s fifteenth studio album, the follow up to 2016’s The Glowing Man and due for release by Mute / Young God Records (N America) on 25 October 2019. Leaving Meaning will be released on double vinyl in a brown chipboard sleeve, double CD in a brown chipboard digipack and digitally. Listen to the first track from the album, ‘It’s Coming It’s Real’: https://youtu.be/3ZVZo30M8Lc Written and produced by Michael Gira, the album features contributions from recent and former Swans, members of Angels of Light as well as Guest Artists Anna and Maria von Hausswolff, Ben Frost, The Necks, Baby Dee, and a Hawk and a Hacksaw – full personnel list below. Michael Gira explains, “Leaving Meaning is the first Swans album to be released since I dissolved the lineup of musicians that constituted Swans from 2010 – 2017. Swans is now comprised of a revolving cast of musicians, selected for both their musical and personal character, chosen according to what I intuit best suits the atmosphere in which I’d like to see the songs I’ve written presented. In collaboration with me, the musicians, through their personality, skill and taste, contribute greatly to the arrangement of the material. They’re all people whose work I admire and whose company I personally enjoy.” “Here below are the primary contributors to Leaving Meaning: Michael Gira – Vocals, words, acoustic/electric guitar, production. I started Swans in NYC in 1982 and have been the primary songwriter, singer and producer throughout the years. In the early years I played bass, but later switched to guitar. During the years of Swans hiatus (1999 – 2010), I released several albums by and toured with a group called Angels of Light. Kristof Hahn – Lap steel, various guitars throughout, backing vocals, generous and insightful advice on mixes and arrangements. Kristof first became involved with Swans in 1989, was a principal contributor to Angels of Light, and a core Swans member 2010 – 2017. Kristof’s other musical ventures have included the Rock ‘n’ Roll Noir band Les Hommes Sauvages and Kool Kings (with Alex Chilton). He’s currently working on an instrumental record for Lawrence English’s label, Room 40. He holds a master’s degree in Political Science, and when Swans doesn’t pay the bills, he translates books for a living. Kristof’s presence, on and off tape, is pivotal to this record. Kristof lives in Berlin, Germany. Larry Mullins – Drums, vibes, orchestral percussion, Mellotron, various keyboards, backing vocals. Larry (AKA Toby Dammit) is a trained symphonic percussionist and all-around consummate musician. He played through the 90s with Iggy Pop and later with The Stooges. He played with Swans in the late 90s and was a main contributor to Angels of Light. He is rumored to have been involved with The Residents. His varied and numerous credits also include a stint with Silver Apples as well as recently, Shakespears Sister. His current main job is playing keyboards with Nick Cave and the Bad Seeds. I decided immediately to ask Larry to contribute to Leaving Meaning after watching the German TV series Babylon Berlin, and suddenly, unbeknownst to me, there was Larry as the main focus of various cabaret scenes, drumming behind a huge kick drum in his inimitable style. After laughing in shock for perhaps half an hour, I decided to contact him. We hadn’t been in close touch for a long time and I’m elated I reached out. Larry lives in Berlin, Germany. Yoyo Röhm – Electric bass, double bass, various keyboards, piano, backing vocals. Yoyo came to my attention through his work with Kristof and Larry in Berlin. In addition to his excellent bass playing, Yoyo’s ears were invaluable in helping to sort out many of the arrangements. Yoyo plays with numerous left field musicians around Berlin and also works with Mick Harvey on his Serge Gainsbourg recordings and tours. Yoyo, Larry, Kristof and I rehearsed in Berlin for 3 weeks prior to recording. Yoyo is a true Berliner – gruff and determined on the outside, a marshmallow inside. He was a great musical resource for this record. The Necks – (Chris Abrahams – piano, organ; Tony Buck – drums, percussion; Lloyd Swanton – double bass). I have been an avid Necks fan since I first saw them perform at a Big Ears Festival in 2010. They subsequently played with Swans at a few shows in Australia. Their live performances and recordings are just about any superlative you can think of – mesmerizing, transcendent, sublime. Their music is entirely improvisational – it’s my understanding that they have no idea what they’re going to play before they start. And yet, mostly using rudimentary jazz trio instrumentation, they manage to fashion burgeoning and ever-evolving, immersive clouds of sound that utterly envelop the listener as the music unfolds. I’m beyond honored and humbled that they agreed to perform the basic tracks for 2 of my songs (The Nub and Leaving Meaning). Their performances were then delicately, and (I hope!) tastefully further orchestrated upon in Berlin. Tony lives in Berlin, and also played drums on the song Some New Things. Anna and Maria von Hausswolff – Choral backing vocals. Anna is blessed with a soaring voice, lyrical acuity and increasing facility with the church organ. I was impressed recently to learn that she often travels around Europe and visits churches unannounced, where she talks her way into being allowed to use the resident organ – some of them rather massive, I imagine – and plays and explores for hours. Her searing records and live shows reflect the courage of her imagination and have garnered her increasing, much deserved recognition. Maria is an accomplished Swedish cinematographer and director of photography. In 2017 I heard Anna and Maria singing together at a sound check for a special song they were doing in Anna’s set, was instantly enthralled, and resolved at that moment to ask them to participate together on a Swans recording. I’m delighted they agreed to come to Berlin and record for me. They were a joy to work with! They live in Scandinavia. Ben Frost – Guitar, synthesizers, sound manipulations. Ben’s adventurous sound-craftings, sometimes harrowing and sometimes delicate and quite musical, and his powerful live shows, have afforded him much recognition of late. I’ve also been highly impressed with his soundtrack work for the HBO series, Dark. He’s an extremely talented arranger and composer. His mission for this record was intentionally ill defined. I basically wanted his ears and sensibility, with no particular part or instrument in mind. I arrived at his studio in Reykjavik, Iceland, put up the songs, and he played what he thought a song needed. I was pleasantly surprised to discover his unique approach to the electric guitar as well as his synth work. Ben also was quite helpful with arrangement and mixing ideas. Ben lives in Iceland. Baby Dee – Lead vocal on The Nub, supported by her friends Fay Christen and Ida Albertje Michels, and Jennifer Gira. Dee has released numerous records (one produced by Bonnie Prince Billie, I think), and if you don’t know them, you should! The first time I saw her she was riding a unicycle in circles outside the now-defunct Avant club, Tonic, in NYC, playing a ukulele (or accordion?) and singing with great mirth. I saw her set that night and was won over. She’s since toured with Swans several times. Her music could loosely be called neo cabaret, but more accurately she’s totally unique and a great performer and songwriter, graced with a powerful voice and high-end ability on the piano, accordion and more. I wrote The Nub specifically for her to sing. I was stymied for words to the main guitar figure to the song, and suddenly she popped into my mind, floating through the universe in diapers, sucking milk from the stars. The song wrote itself. Dee lives in The Netherlands. Jeremy Barnes and Heather Trost – Jeremy: Santur, hi-hat, fiddlesticks, accordion, engineering; Heather: Stroh violin, violin, viola, fiddlesticks, engineering. Together, Jeremy and Heather comprise the band A Hawk and a Hacksaw. (Jeremy played at one time with the bands Neutral Milk Hotel and Beirut). Again, if you don’t know their music, you should! They’ve released several records. It’s Balkan/Gypsy influenced, somewhat psychedelicized, with great singing, playing and melodies. They’re each multi-instrumentalists and they intrepidly travel the world, both touring and simply exploring the Balkans, in search of adventure and master musicians of the region, some of whom they simply befriend, others whom they record. They toured with Swans a while ago, and I’ve had it in the back of my mind to ask them to record on a record since. I travelled to their home studio in Albuquerque, New Mexico, presented the songs, and did the same thing I did with Ben – I said, “Now what?” You can hear them on several songs on the record, sometimes subtly, at other times more pronounced. In any event, it’s great to have such a pair of wonderful humans on the record. ADDITIONAL MUSICIANS: Dana Schechter – Dana played bass on the song ‘Some New Things’. Dana was a core member of Angels of Light. Her current band is Insect Ark. It’s rather heavy and great. Will be working with Dana more soon in the future and very pleased we reconnected recently. Jennifer Gira – Backing vocals throughout and cameo vocal on Sunfucker. Jennifer has sung backing vocals on the past few Swans albums as well as lead vocal on the song When Will I Return? on the last Swans album, The Glowing Man. She’s also of invaluable help on mixing and arrangement decisions. Cassis Staudt – Accordion and harmonium. Cassis was a core member of Angels of Light. She moved to Berlin some time ago and we lost touch. Cassis is a composer of music for films in Berlin. I’m very happy to be working with her again. Norman Westberg – Electric guitar. Norman played on a few key moments on this record. Norman has been in and out of Swans since the beginning (mostly in) and was a core Swans member in 2010 – 2017. We’ll continue to work together into the future, absolutely. Norman releases solo instrumental records through Lawrence English’s Room 40 label. We’re touring (each solo) together in Eastern Europe soon. Christopher Pravdica – Bass guitar, sounds. Chris played at pivotal moments on this record. He was a core Swans member in 2010 – 2017. We’ll continue to work together in the future, absolutely. Chris has recently been enlisted by Jamie Stewart for his band Xiu Xiu. Phil Puleo – Phil played hammer dulcimer on the song Amnesia. This might be considered a severe underutilization of his considerable talents as a drummer, but there’s more to come quite soon. Phil was a core member in Swans 2010 – 2017 and played as a member of Swans in the late 90s and contributed to Angels of Light. Thor Harris – percussion, trumpet, clarinet, sounds, bells, gizmos, additional vibes. Thor drove up from Austin to record for me at Heather and Jeremy’s place in Albuquerque. Always a highpoint to be in the presence of this committed musician and friend. Thor was a core member of Swans in 2010 – 2016 as well as Angels of Light. Certainly, more to come! Thor has his own happening combo, Thor and friends, and they make seductive and beautiful records and tour often. He also has recently been recruited by Jamie for Xiu Xiu. Paul Wallfisch – Paul played piano to great effect here and there on the record. Paul was a touring member of Swans in 2017. He works with the glorious human chanteuse Little Annie. He’s also a musical director for theater productions in Germany, and recently landed a very fancy-pants job as musical director/composer for a theater production at a historical theater in Vienna. Thanks to All!!!! MG”

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SYNAPSCAPE

Again

Format: CD Year: 2009

"the dynamic duo from bielefeld is back - one and a half years after 'now', tim kniep and philipp münch present another full dose of massive electronics for the mind and body. tracks like 'who painted my cat black' and 'stuck' keep up synapscape's aural trademark: heavyweight interlaced polyrhythms, distorted textures and tim's non-reversible voice - an ecstatic mixture evolved to make you move! on 'countercroque' or 'requirement', crystal clear technoid detroit synth lines meet strictly accentuated beats, disturbing samples and captivating melodies. the more you listen to this album, the more details that will be visible. proper heavy engine! the fascinating aspect of this project's work (since the beginning) is their ability to innovate in a genre in which many participants seem to restrict themselves - despite the countless amount of technical options. once 'again' synapscape assert their position as one of the most innovative artists of industrial music today. ahuenna!" [label info] www.ant-zen.com

€14.00

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SYNCHRE

Requiem

Format: CD Year: 2016

All instruments and compositions _ Luca Canciello & Lorenzo Brusci Vocals _ Movement 2, The Zimbabwebird; Movement 1 and 3, Sosta Palmizi Text, Movement 2 (by Zimbabwebird, in Zulu and Shona, 2015): "Thuma mina, mweya mutsvene. Unditumeo" [Send me, pure spirit. And then send me.] Lorenzo Brusci, 1966, co-founder of MUSSTDESIGN.com, managing partner at the music robot start up MUSICFIT (musicfit.ch). He launched over the last 20 years prestigious adventures in the audio and sound space design field as the sound and interactive design studio GIARDINO SONORO (giardinosonoro.com) and the architectural speakers manufacturer ARCHITETTURA SONORA. He has been composing music for various ensembles, theatre, television and radio since the early ’90s (He founded TIMET.org in 1993). Lives between Berlin, Tuscany and Krakow. www.lorenzobrusci.com www.soundcloud.com/lorenzo-brusci Luca Canciello, Italian born, Berlin based. Multi-instrumentalist, composer, sound designer, he performs experimenting with live electronics, instruments and sounds. www.soundcloud.com/climnoizer His musical journey and inspiration have brought him into various fields and art disciplines, working solo or collaborating with other artists and bands. His interest for other art forms, in particular dancing, leads him composing musical pieces for theatre, dance companies, experimenting the various natures of rhythm in music . On sound design, he’s been involved on projects linked to international cultural heritage and architectural media mapping. The mechanism of individual and collective memory and its rituals, are the central inspiration of our Requiem. It’s not a formal Mass; our intention was to harvest and express the community’s need of sharing and binding its ties while facing the experience of death. A deep sense of community - religo in latin, binding in english - inspired our structural research. Requiem becomes then the concerting moment that asks for “holding back”, a desperate request of time suspension, the ultimate demand for re-living, re-experiencing, re-loading, re-gaining, now, in this very ritual and public moment what will be lost forever. Through a free attitude in music composition and expression - our syncretism - we designed a process of electroacoustic layering, consolidating in 3 compositional areas the process and destiny of organic life. - Living Elegy - the enchantment for life and its many endangering gates: the movement is subdivided in (living) Articulation, (ritual)Transition and (pathological) Abandon; - Nostalgia - the seeking for the integral time suspension and life preservation; - Transfiguration - where we depict the organic reaction to danger and biological faith, subdivided in (furious and ultrabiological) detachment, (regenerating) intimate power, (coding the) extended mind, (persuing a new form of) immanency. https://emerge.bandcamp.com/album/requiem "Lorenzo Brusci (Timet, Climnoizer, Giardino Sonoro) & Luca Canciello gestalten als SYNCHRE mit ihrem Requiem (ACU 1009, CD) aus Drones, Breakbeats und dunkel grollenden Blechbläsern (oder Orgelpfeifen) einen Dreisatz aus 'Living Energy', 'Nostalgia' und 'Transfiguration'. Als einen Übergangsritus, mit einer zart flehenden Gesangseinlage von Tozim Madzima aka Zimbabwe Bird, zu plonkenden Lauten aus dem Innenklavier. Danach wieder rauschend sich wälzende, zittrig verzerrte und knarrende Synthie- und Gitarrensounds, mit Vogelgezwitscher durchsetzt und erst zeitlupig gedehnten, dann wieder zuckenden Beats. Und zuletzt auch wieder der dunklen Bläserpracht, zu der sich diese grandiose Musik der brausenden Verwandlung entgegen stürzt. Wer braucht noch eine Leitkultur, nach so einem Durchgang ins weiße Licht?" [Bad Alchemy]

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SYNDROME

Now and Forever

Format: LP Year: 2013

"Mathieu Vandekerckhove, mostly known for his work with Amenra. For years the self-taught musician learned and studied his craft of songwriting and sound scaping, mainly as a means to self exploration, meditation and attempts at channelling negative into positive energy, this while staying below the surface at all times. Now 2012 marks a turning point for Mathieu Vandekerckhove and Syndrome as he steps forward, with the epic 28 minute long “Now And Forever”. Dedicated to his son Wolf, this track offers words of guidance and will grant you a look into the heart and soul of the artist. Close your eyes and hear the beating heart of pure artistic freedom. First 75 orders will get an extra booklet with photography by Mathieu Vandekerkhove." hypertensionrecords.com "Gent in Ostflandern, Heimat AMENRAs und somit auch die von Mathieu Vandekerckhove. Der AMENRA-Gitarrist ist ebenso wie seine Kollegen ein Vielbeschäftigter. Die belgische Ausnahmekapelle und ihr ganzheitlicher Ansatz wussten im letzten Jahr gemeinsam mit NEUROSIS live dergestalt zu überzeugen, dass der amerikanische “Headliner“ an jedem Abend Vollgas geben musste, wollte die Band nicht von Vandekerckhove und den Seinen in den Schatten gestellt werden. Wer NEUROSIS kennt, weiß, dass sie diese Form der Herausforderung suchen und lieben. Dass Eindruck zum Ausdruck wird, ist ein Wesenszug kreativen Wirkens. Die Belgier indes verzahnen künstlerischen Ausdruck und das eigene Leben eng. Nicht umsonst wird bei keiner Veröffentlichung auch nur ein Aspekt dem Zufall überlassen. Gleiches gilt für alle Projekte der in Gent Beheimateten – gleiches gilt somit auch für SYNDROME. Es geht die Geschichte, dass Vandekerckhoves Projekt einem Zuhause Experimentieren entsprungen sei, vor ca. sieben Jahren. Mit “Now And Forever“ liegt die mittlerweile dritte Veröffentlichung vor, ein Track mit einer Spielzeit von 28 Minuten. Das Stück bildet den Wandel ab, der sich in SYNDROME eingeschrieben hat und setzt sich aus Ambient, Drone, Doom und ja – Folkelementen zusammen. Unterstützung erfährt der Belgier von Bandkollegen Colin H. van Eeckhout und Josh Graham. Letzterer sollte als NEUROSIS-Mitglied und A STORM OF LIGHT-Kopf keiner weiteren Vorstellung bedürfen. “Now And Forever“ startet mit einer eindringlichen Akkordfolge, die sanft von einem Drum durchklopft wird. Der vormals erwähnte Wandel drückt sich immer wieder in einer hohen Verdichtung der einzelnen Sounds aus, schnappt Versätze beinahe beiläufig und schichtet diese sorgsam auf, bereitet so auf das Hervorbrechende und Anstürmende vor, besänftigt diese und überführt sie kurz darauf wieder in mindestens zweimalige, versetzte Wiederholungen desselben Motivs. Die Intervalle des Motivs ändern sich stetig und befördern so den rauschhaften Charakter. Ab Minute neun gesellen sich Vandekerckhoves Brummvocal hinzu, um schließlich durch Colins helle Gesangsparts abgelöst zu werden. Immer bleibt die Gitarre leitend und gleicht dabei aber auch einem Katalysator. Sie senkt nicht nur die Aktivierungsenergie, sie überführt auch Dunkles in Klingendes, Tönendes. Reaktant dabei ist das Niederringende des Alltags, dass in das Ergebnis namens “Now And Forever“ expediert wird. Im Vergleich zu AMENRAs Wirkweise des “Hervorbrechens“ steht bei SYNDROME eher das Aufbrechen im Vordergrund. Wo dort die Ausdehnung, das Treiben und das Herauskommen definiert werden, geht es hier eher um ein Öffnen, ein Aufschließen und Durchstoßen. Das Ein- und Aufweichen von Strukturen geschieht entlang des beschriebenen Wandels. Dabei findet der Hörer AMENRAs die anderen Projekte der Mitglieder in die Wertvorstellungen der Hauptband gut verfugt. Nicht umsonst haben die Belgier mit der CHURCH OF RA eine Form der Herangehensweise gewählt, die in Glaubenssystemen wurzelt. Ernsthaftigkeit ist dabei das Credo, fernab von Dogmen und Hierarchien der Entstehungsgrundlage, sondern vielmehr Basis für eine bedingungslose Hingabe, die Ergebnisse erschließt wie das vorliegende. Dort, wo eine Deckungsgleichheit von Handlungen erzeugt wird, entsteht eine Überzeugungsgemeinschaft, eine, die gemeinsam einen Pfad beschreitet, der an den wenig begangenen Weg Robert Frosts erinnert. Das, was dabei betreten wird, ist gesäumt von einem Streben nach Ganzheitlichkeit in Bild und Ton. Das dort im Verborgenen Schlummernde wird Stück um Stück freigelegt, hoch ist der Aufwand für dieses Abringen, jetzt und für immer." [S.L./Black Magazine] "Nearly a decade ago, Syndrome came into the world through the Belgian mind of one Mathieu Vandekerckhove due to his need for a meditative vehicle through which he could release the negative energy in his life and transform it into something more constructive. This vehicle obviously existed in obscurity, laying dormant in silence for many years before taking on the attributes of droning post-rock and finding a home in 2011 with Belgian label ConSouling Sounds where Vandekerckhove has spent his entire career under this moniker to this point. Life was officially given to Syndrome when “Floating Veins” was released last June, finding availability in both a 12″ and a CD limited to 500 copies, of which the first 100 came with a bonus DVD-R of material. Other than that and “Now and Forever” here, the only other existing official Syndrome release is a three-way split with Monotonos and Sequences entitled “Fall of Man”. Outside of Syndrome, Vandekerckhove is otherwise known for his work as guitarist for sludge doom bands Kingdom and, more importantly, Amenra whom found a decisive home in Neurot Recordings a year ago. Unfortunately it seems that, despite a promised release of the new studio album “Mass V” a few months after signing, nothing has yet been unleashed. This slow pace on Neurot may be what has freed Vandekerckhove to pursue his solo project in such depth, and that depth has found him constructing a one-track, 28 minute opus in dedication to his son, Wolf, for this release. What few words are present here exist as a guiding light for his son towards finding himself, finding strength, helping others, and knowing no matter how distant the expanse, be it physical or ethereal, his father is there in spirit. It’s an intimate portrait of the proverbial handing of the torch in blood, primal if not tribal in spirit. A tribal nature is in fact how this album opens, with a subtle light percussive notion — the only place on the entire album where you’ll find any hint of bombast behind the epic, weaving feedback drones that shimmer harmoniously before washing away in tides of a deeper, less tenuous drone that is textured lightly by gentle noise and guitar tones. These moments will eventually give way to the heart of the track that contains the lyrical content and the most desolate production within the release to give space for the vocals to express their stern, yet inert fragility. The deep performance here, both literally and emotionally, immediately reminds of efforts from several artists including Steve von Till and later Ulver, and whose building ethereal guitar nature is uncannily reminiscent of the gut-wrenching dreamy style that Love Spirals Downwards once achieved. Other than the obvious emotions associated with succeeding at bringing a child into this world, there has to be something incredibly special on an entirely different, subconscious level about implementing those emotions into a dedication through music. It was a decade ago, this year, that Green Carnation released their acclaimed “Light of Day, Day of Darkness” album which was inspired by, at least in part, by the birth of Tchort’s son and the death of his daughter. Obviously there is a greater sense of melancholy in that record, but there is a very distinct yet undefinable emotion that accompanied that album — an emotion that is also present in full force here. It certainly isn’t melancholy, but it is reserved all the same — focused and incontrovertibly sincere. That said, it’s difficult to place the particular portion of the painting by Matthieu Ronsse, “Bateau”, that as used as the album cover, in regards to it’s significance to the subject matter at hand. It certainly fits in with the ethereal music of “Now and Forever”, and there are certainly ties in sound to the sea, but it is certainly cryptic at best in relation. The figure pictured has a ship’s flags linked to the inside corners of the eyes, almost representing tears, while the sail itself covers the mouth. The ship itself is on fire. There are many obvious lines of thought, but they seem to contradict one another once their paths cross. Perhaps this is an explanation best saved for another article at another time. Regardless of the cryptic artwork though, it’s hard to imagine an album of this style achieving a level of perfection that rises above this. There’s simply such an incredible amount of intensity, love, and musical prowess at work in “Now and Forever” to find any kind of negative attributes within." [Sage/Heathen Harvest]

€20.50

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SZCZEPANIK, NICHOLAS & JUAN JOSE CALARCO

Lack Affix

Format: CD Year: 2010

"Lack affix isn’t so much about one particular location as it is an homage to the memories of the places we can’t vividly remember. This is about the imagery conjured when certain senses are triggered. It’s about our mind’s recreations of memories past; at once familiar, but also different in some inexplicable way. (Nicholas Szczepanik) Washington DC - Since a couple of years I’ve been living in different areas very far from the centre of the city and for Lack Affix I tried to capture this particular feeling I used to get during the nights by the time I lived at the most overcrowded districts; those extremely distant-blurred sounds of night activities as trucks delivering boxes, police helicopters, construction sites working on full hours, gas stations filled with taxis coming and going but mostly that undefinable, abyssal texture of a huge city at very late hours. As Nicholas was sending me his re-works on my raw stuff and his own recordings for me to work on, we went more into this direction. So, I focused even more on recordings from the same streets and specially from terraces and inside subway entrances to reconstruct the sounds as I used to hear them those times ago; hopefully, even to recover some peaceful sensation I’ve never felt again so far, no idea if related with the dulling sound of those crowded districts or not. (Juan José Calarco) Buenos Aires, Argentina" [label / website info] www.unfathomless.net "The third release in the Unfathomless series is a duo release of two artists bringing sounds to the table from their own places. Nicolas Szczepanik from Washington and one Juan Jose Calarco from Buenos Aires. They traded these sounds and then started to work on processing these. This resulted in the three pieces on this CD. Its hard to recognize the busy urban life in these pieces. Just as much as you would guess, this could also be the sounds from a small village. Unless of course they stuck out their microphones in the middle of the night, picking up the remains of the day and the birds of the night. Occasionally they work towards a crescendo, but even then its not easy to spot the city. Not that I care about this, I must say. They come up with music that has a lot to imagine about. Great field recordings, and great processing of the sounds. They do an excellent job, mixing all of this together, with great clarity and lots of detail. The sound bounces all over the dynamic spectrum. If you like say Francisco Lopez, then you're bound to like this too. Highly refined soundscapes." [FdW/Vital Weekly]

€14.00

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TAGC (THE ANTI GROUP)

Iso-Erotic Calibration

Format: CD Year: 2025

artists music merch video community Iso-Erotic Calibration (CSR343CD/LP) by T.A.G.C. Wishlist supported by atmcgibbon thumbnail atmcgibbon This is a stunning bridge between the industrial sounds I listened to in the '80s and other Eno-esque "music without a chorus and verse". They have put together great audio textures and brought in percussion on some tracks without burying the subtle electronic nuances. Smart music that stands the test of time! Favorite track: Psychophonophilia. Satanic Plastic thumbnail DarkDom thumbnail Mark van de Steeg thumbnail Cycom thumbnail Dex Anderson thumbnail sammarion thumbnail svens242 thumbnail awrc thumbnail travis.daedalus thumbnail Andres Rivas (Assertive Discipline) thumbnail kpatt thumbnail Project_Nightwolf thumbnail theriddleofclouds thumbnail IAN GILL thumbnail screechingjaybobbins thumbnail SoundAndVision thumbnail alessandro vaccaro thumbnail ejharnish thumbnail zzoneman thumbnail SubsistenceIsFutile thumbnail HenGeoKoh thumbnail Moritz Cordes thumbnail music4metrostations thumbnail blackwoofer thumbnail lejeune thumbnail Jim Jarmo thumbnail idtheft thumbnail Betty Koster thumbnail a1a1a1a1a1a1a thumbnail 400 Lonely Things thumbnail joelimbus thumbnail club_debil thumbnail Pod Farlow thumbnail Mister G thumbnail pH1 thumbnail ilnoia thumbnail Luciano Civitarese thumbnail kickingmachine thumbnail ernie23 thumbnail Doc Savage thumbnail Thomas Thomas thumbnail Martijn Jansen thumbnail Dave Barker thumbnail ea thumbnail Laing Reeder thumbnail DreamMachine thumbnail Chris Fox thumbnail baufive thumbnail obi1r thumbnail Mediapathic Steen thumbnail Zlatko Zlaya Zgombic thumbnail Ryan Friedrich thumbnail Steven Reynolds thumbnail Green thumbnail Sandro De Frino thumbnail Carsten Bolte thumbnail Bruce Levenstein thumbnail snitlobastnev thumbnail Gregory Skov thumbnail osSSya thumbnail more... Iso-Erotic Calibration 00:00 / 06:53 Record/Vinyl + Digital Album package image Ltd 300 x Brown LP on 180gm heavyweight vinyl in a matt-laminate sleeve. Includes unlimited streaming of Iso-Erotic Calibration (CSR343CD/LP) via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. Download available in 16-bit/44.1kHz. ships out within 7 days £23.99 GBP or more Record/Vinyl + Digital Album package image Black LP on 180gm heavyweight vinyl in a matt-laminate sleeve. Includes unlimited streaming of Iso-Erotic Calibration (CSR343CD/LP) via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. Download available in 16-bit/44.1kHz. ships out within 7 days £21.99 GBP or more Compact Disc (CD) + Digital Album package image CD in matt-laminate 6-panel digipak. Includes unlimited streaming of Iso-Erotic Calibration (CSR343CD/LP) via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. Download available in 16-bit/44.1kHz. ships out within 7 days £11.99 GBP or more Streaming + Download Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. Download available in 16-bit/44.1kHz. £6.99 GBP or more 1. Iso-Erotic Calibration 06:53 2. Union With Sirens 08:12 3. Mercurius 04:51 4. Annals Of Sancity 04:57 5. Nuerological Engineering 07:36 6. Psychophonophilia 07:20 7. Ethemeral 05:24 8. Iso-Erotic Calibration (After Glow Mix) 06:57 9. Adonne 10:57 10. Phantom Frequencies 08:18 11. Hommage Dr Jekyll Et Les Femmes 06:50 about Carefully constructed aural rituals from T.A.G.C., this album maps new realms in the area of sensual electronic music. Founder Adi Newton (Clock DVA) uses The Anti Group as an outlet for his research in psycho-acoustic music. "Iso-Erotic Calibration" explores the potent topic of human sexuality. Recorded over a period of three years, this could be considered on of their more "accessible" albums. Originally released in 1994 (Side Effects, the label of Lustmord, Musica Maxima Magnetica, and Adi's own Anterior Research Recordings), we are proud to present the album for the first time on vinyl, as well as the first official CD reissue, fleshed out with four bonus tracks: two were bonus digital-only tracks (2013); one track is taken from the soundtrack to the 2011 T.A.G.C. film 'Given'; one is a remix of the title track. The Anti Group Communications (T.A.G.C.) was devised by Adi Newton and Steven James Turner as early as 1978 as a multi-dimensional research & development project. TAGC are not affiliated to any one system of philosophy or epistemological paradigm or occult fraternity but are open more to individual systems and innovative thinkers Science, Art, Music Sonology, Visual Arts, Literature, Research & Publication are its main areas. The artwork is filled with text and illustrations supporting the different songs. • CD in 6-panel matt-laminate digipak. • Black LP on 180gm heavyweight vinyl in a matt-laminate sleeve. • Ltd 300 x Brown LP on 180gm heavyweight vinyl in a matt-laminate sleeve. credits released January 17, 2025 All compositions and production by Adi Newton, 1994. All tracks from original DAT masters recorded in Florence, Italy, 1993, at the Anterior Research Station. Iso-Erotic Calibration originally released by Anterior Research Recordings (ARR 003), Musica Maxima Magnetica (eee 20) and Side Effects (DFX 21). Bonus CD tracks: Track 8: remix Track 9: from the soundtrack to the TAGC film 'Given' (2011). Track 10 & 11: from the digital-only edition (2013) Carefully constructed aural rituals from T.A.G.C., this album maps new realms in the area of sensual electronic music. Founder Adi Newton (Clock DVA) uses The Anti Group as an outlet for his research in psycho-acoustic music. "Iso-Erotic Calibration" explores the potent topic of human sexuality. Recorded over a period of three years, this could be considered on of their more "accessible" albums. Originally released in 1994 (Side Effects, the label of Lustmord, Musica Maxima Magnetica, and Adi's own Anterior Research Recordings), we are proud to present the album for the first time on vinyl, as well as the first official CD reissue, fleshed out with four bonus tracks: two were bonus digital-only tracks (2013); one track is taken from the soundtrack to the 2011 T.A.G.C. film 'Given'; one is a remix of the title track. The Anti Group Communications (T.A.G.C.) was devised by Adi Newton and Steven James Turner as early as 1978 as a multi-dimensional research & development project. TAGC are not affiliated to any one system of philosophy or epistemological paradigm or occult fraternity but are open more to individual systems and innovative thinkers Science, Art, Music Sonology, Visual Arts, Literature, Research & Publication are its main areas. The artwork is filled with text and illustrations supporting the different songs. https://coldspring.bandcamp.com/album/iso-erotic-calibration-csr343cd-lp

€15.00

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TAPE

Milieu plus

Format: CD Year: 2008

"Nach OPERA (Häpna 9) das zweite Album für das schwedische Trio um ANDREAS BERTHLING. Zeitlose schöne, handgespielte Instrumental-Musik, entspannend & introvertiert & positive Vibrationen erzeugend.... gezupte Gitarren, Melodica, Akkordeon, Orgal, Harmonium, Vibraphone, mit einzelnen zarten geräuschhaften Zwischenparts....wie ein Nachmittagsspaziergang in lauer Herbst-Sonne..." [Drone Rec. info 2003] "Tape is a trio from Stockholm, Sweden, building their music from a whole array of acoustic instruments, computer and field recordings. Their first CD "Opera" got excellent reviews in international press and was compared to artists such as Talk Talk, Gastr del Sol, Fennesz, John Fahey and Faust. Their new CD "Milieu" shares the same basic premises as "Opera". All kinds of sound sources are used and organically integrated in the songs, which move freely somewhere between the composed and the improvised. Even if "Milieu" makes use of experimental methods, the album are argumentably more songbased than "Opera" and therefore maybe more accessible." [original label description] www.hapna.com

€14.00

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TARKATAK

I II III IIII

Format: CD Year: 2022

Die 4 Titel auf / // /// //// sind in ihrem Ursprung auf Reisen entstanden, an unterschiedlichen Orten oder auf dem Weg. Dann weitergeführt in unterschiedlichen Situationen an diesem festen Ort hier bis sie eine endgültige Form angenommen haben, die sich aber erst nach vielen Stimmungsschwankungen gefunden hat. Ein manchmal langer Weg dessen Resultat nur aus der Stimmung entscheidet, die die Musik in diesem Moment entgegenbringt. Tarkatak Ende 1981 war der Anfang: Punk und die Kassettenszene machten alles möglich. Unter dem Namen „Der Pilz“ erschienen die Geräusch-Collagen aus selbst geschnittenen Tonband-Loops und Kassetten-Overdubs. Das Harsche blieb bei „Der Pilz“, das Ruhige wurde zu „Tarkatak“, mit der ersten Kassette „slow“ (1999). Die Quellen und Wege blieben gleich (hören, sammeln, schneiden, unkenntlich machen), das Medium wurde Digital, obwohl es oft noch immer nach Kassette rauscht. Und immer wieder geht es tief in das dunkle, zähe Unbekannte – um sich dann vom Klang irgendwo erfüllt und umschlossen zu verlieren. Neben zwei Kassetten, einer LP, div. 7“s bei Drone Rec. (z.T.Features mit Klangwart und Deep), CD/Rs (u. a. zusammen mit Anemone Tube und Florian Filsinger) und ein bisschen Digitales, gab es Konzerte oder Live-Kollaborationen mit Troum, A Thousand Vows, Melt Banana, Christina Kubisch, Kapotte Muziek, EA 80 etc." https://aufabwegen.bandcamp.com/album/i-ii-iii-iiii "You could think that is a label that hands me two new CDs, and one of these is new work by Asmus Tietchens, that would be the one first to hear. But a new CD by Tarkatak! Hold on. I can't remember I last heard or reviewed his music. I have known the musical project from Lutz Pruditsch since he started it in 1992. Before that, he had a cruder, industrial act, Der Pilz. As Tarkatak, he plunges into the world of ambient and industrial. 'I II III IIII" is his first release since the 2007 release 'Mormor' (not reviewed). There are four long pieces on this CD: ' I', 'II', etc. The pieces are from 2011, 2012, 2015 and 2017/2021. I have no idea what kind of instruments Tarkatak uses; only the piano is recognizable in 'IIII'. Otherwise, I think he uses electronics, effects, guitars, synthesizers and such. There is a robust drone approach in these pieces, of slowed-down tapes and rusty sounds, slowly evolving. With pieces between thirteen and twenty minutes, there is enough time to let them grow and develop naturally. This works best in the longest of the four pieces, 'II'. Tones arrive from nowhere, make a few slow and majestic moves and then disappear, replaced by new ones. The resulting music is dark, atmospheric and ambient. It ticks all the right boxes for me; I have been a fan since the early days, even when I am ashamed to say I haven't played many in recent years. Oddly enough, the one that didn't work well for me was 'IIII', with the piano sounds. Whereas the other was akin to amorphous clouds, the musical element of the piano, slightly unorganized, banging out slow tones against a drone background, became after a while a bit boring. But a good hour of great music has passed by then, so nothing to complain about. Let's hope we don't wait another fifteen years for the next album." [FdW / Vital Weekly] " „I II III IIII“ ist das erste neue Album von Tarkatak seit dem 2007 erschienen Album „Mormor“ auf Genesungswerk. Ende 2021 erschien ein starker Track auf einer Compilation. Die hier enthaltenen Aufnahmen entstanden zwischen den Jahren 2011 und 2021, geremixed wurden sie im Frühjahr 2021. Lutz Pruditsch, dessen Werk in den 80ern/90ern als Der Pilz stark von der Industrial Culture beeinflusst war und der das kleine Label Trümmer Kassetten betrieb, macht als Tarkatak eine ziemlich variantenreiche Musik, die sich im Drone verorten lässt. Konzipiert während des Reisens und Unterwegsseins, bekommt man vier lange Tracks, die sich fortwährend entwickeln: So kommen auf “I” im Laufe der 16 Minuten zu dem in der Ferne anschwellenden Drone immer weitere Elemente hinzu, die sich nach und nach verdichten. Das ist eine sich langsam entwickelnde, aus zahlreichen Schichten bestehende Musik: Zwischendurch wird man an eine Sirene erinnert, Dissonanzen tauchen auf, es pulsiert, brummt und irritiert (und das ist durchaus positiv zu verstehen). “II” wirkt anfangs von der Stimmung wesentlich positiver, weniger dunkel. Man kann sich diesen weitgehend sehr melodischen Track zur Untermalung eines Sonnenaufgangs vorstellen. In der Ferne erklingen Pianotöne, die verhallen, im Rauschen gerade noch erahnbar sind. Dann glaubt man, Wellen schlügen gegen das Ufer, dann setzen dunkle, unheilschwangere Drones ein, um dann am Ende doch hoffnungsvoll zu enden. “III” ist wesentlich reduzierter, beginnt fast unhörbar, dann kommen seltsam-melodische Passagen dazu. Dem Track haftet ein Moment des Mysteriösen an, bevor der Rest Schweigen ist. Der das Album abschließende Track “IIII” beginnt dunkel, tastend, dann kommen Klavierpassagen dazu, die wesentlich dominanter als zuvor sind. Diese vier langen, organisch wirkenden Tracks loten aus, was der Drone alles kann. Sehr schöne, auf 200 Exemplare limitierte Veröffentlichung mit einem zum Poster ausfaltbaren Siebdruckcover." [MG / African Paper] "An edition of 200 copies only in silk-screened hand numbered poster-cover sounds nice and lovely but is in fact a bit unhandy, the poster folds out to more of the organic structure in bronze / brown / black. Thankfully a regular booklet is included here so at least some basic infos can be gained from the artwork. Tarkatak is actually no new name to me, it's a project by Lutz Prueditsch (who was active as Der Pilz, run his experimental tape label Trümmer Cassetten and later Dachstuhl a.o. activities) I've listened to in awe years ago already when his album 'Mormor' appeared on the much missed Genesungswerk label, in a cardboard box with a CD on felt. Ambient drones for the thinking man or something like that I wrote back then. At least back then he gave the tracks some titles but for this collection, recorded between 2011 and 2021 and finally mastered in 2021 even those have left and the tracks are titled as the release, just four numbered sections. Well, freedom of speech, association or of thought or both this is. The most recognizable instrument used here in small doses is a piano, spreading a few melodic highlights throughout these organic drones, built from field recordings and found but altered sounds and voices. Reworked over and over again the continuos movement and the flow hardly ever stops until everything is dissolving. The mood is shifting from brooding to wallowing in various stages of post-romantisicm not completely unlike contemporaries Troum (f.e. with 'Mare Morphosis'). Maybe also reflection of a period of travels and changes in the artists life. A pleasure to listen to. Dreamy Movements in a deep wakefulness sleep." [CHAIN D.L.K.]

€13.00

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TAZARTES, GHEDALIA & MAYA DUNIETZ

Schulevy Maker

Format: LP Year: 2017

"Holotype Editions was founded as a means of bringing out music by some of the most unique and peculiar artists of the last decades. What could be more fitting for the imprint’s seventh release, than the duo of cult artist Ghédalia Tazartès and multi-instrumentalist, composer and singer Maya Dunietz. Recorded live at Cafe Oto, in December 2013, Schulevy Maker documents the duo’s first live appearance. An amalgam of bizarre samples, concrete sounds, live piano and bells, juxtaposed with the otherworldly voices of Dunietz and Tazartès. At times light and humorous, at others dark and ritualistic, Schulevy Maker can hardly be labeled or tagged. The album title refers to Shoemaker-Levy 9, a disrupted comet that collided with Jupiter in July 1994. Tazartès and Dunietz freely reassembled the syllables of the comet’s name, coming up with this obscure title. A truly life-affirming record, by two artists defying categorization, Schulevy Maker comes in a limited edition of 300 copies, pressed on black vinyl with a beautiful cover designed by We Are Still Bold and Beautiful. Recorded live at Cafe Oto, London - December 2nd, 2013 by James Dunn. Mixed by Daniel Meir. Mastered by Nikos Lavdas at Kiwi, Athens, 2017.

€16.00

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TBC

Insecta: The Birth of Gods

In an ideal world, Disturbance, the new album from industrial pioneers Test Dept, would not exist. It wouldn’t need to. Britain would not stand divided by xenophobia. Working class communities would not be under siege. Capitalism would not have created a climate change crisis pushing the planet towards a dangerous brink. And the Thatcherite ideals that Graham Cunnington and Paul Jamrozy spent Test Dept’s early years raging against would not be so terrifyingly back in political vogue. Back in1981, Cunnington, Jamrozy and a revolving door of talented artists from disparate disciplines and backgrounds formed Test Dept, forging an incendiary new sound from a squat in New Cross that made them underground heroes, landing the group under surveillance by the British government. 37 years later, on Disturbance, that sound is as incendiary as ever. “It began with a project to do with our archive,” recalls Cunnington. It was the early 2010s and Test Dept had been dormant for years. The pair wanted to sort through Test Dept’s old recordings to “re-establish our history and get our music out there again” after record label red tape left many of their 14 albums out of print. When attention turned to the “next logical step of a new album”, an idea emerged – taking germs of ideas from old songs and turning them into new, sledgehammer-heavy sonic experiments full of powerful protest poetry. Politics had come full circle. It felt fitting to do the same with their music. The result is an album that at once peers into the past and roars into the future, across eight tracks that conjure the raw power of Test Dept in their original, 1980s incarnation while adding new elements. “We’re different people now – not spring chickens anymore,” laughs Jamrozy. “We’re still angry but it’s tempered by a slightly different wisdom. We tried to upgrade the sound, to soup things up further.” “Art is not a mirror to reflect reality, but a hammer to shape it,” the poet and playwright Bertolt Brecht once wrote. It’s a mantra that continues to drive Test Dept. who return to their past on this eviscerating new album in order to move into a bold new future. They hope Disturbance can soundtrack a society doing the same. music merch Disturbance by Test Dept Wishlist supported by dauvit thumbnail dauvit Test Dept. have always sounded like Test Dept. and nobody else sounds like Test Dept. Another fantastic release. jvvoda thumbnail jvvoda Not a case of sentimental cash-out reunion call, quite the opposite. This record will keep you pushed to the edge of your comfort zone, and true to the title, it will leave you disturbed - in the best possible way - as a wake up call from your apathy and ignorance back to action. mipsen thumbnail mipsen What a great interpretation of my favorite track of the "Unacceptable Face of Freedom"! The whole album is extremely recommended! Favorite track: Gatekeeper. R5N thumbnail R5N Just a fucking brilliant album. 🤘Glad to see such a great return. Bryon Wilson thumbnail Bryon Wilson Love the album! I honestly can’t say what my favorite track is. I keep listening to the entire thing straight through. Great work. Synthonic thumbnail Synthonic You don`t listen to Test Dept, you feel them. If you have a heart, that is. Steve thumbnail Simon Gould thumbnail green thumbnail Gareth Absalom thumbnail Edison's Ashes thumbnail Kevin Breidenbach thumbnail stuartgwhite thumbnail ManMaas thumbnail Tero Parviainen thumbnail Jon Eaker thumbnail Ian Vincent thumbnail chris sneeringer thumbnail Kyle Kennedy thumbnail dazzlingday thumbnail Dr. Klahn thumbnail blackheartsoul thumbnail Erik Gibbels thumbnail Joey Blush thumbnail Sjap Gerits thumbnail robert crozier thumbnail Charles Terhune thumbnail Joe Hickey thumbnail securitate thumbnail sQwurm thumbnail kreuzgang thumbnail Mark Jarrell thumbnail eil_7 thumbnail Garry Packard Detroit thumbnail Mike Schmor thumbnail Simon G thumbnail Roland Zwaga thumbnail phillogic thumbnail Zack S thumbnail sindar thumbnail Amaranto de las Hoces thumbnail Stefan Karolewicz thumbnail Winter's Holy Hand thumbnail ghoulmann thumbnail Robert Ahlquist thumbnail Piero Tarditi thumbnail fruitbat242 thumbnail smk thumbnail Chris thumbnail Adam Mcdole thumbnail NoizeTwister thumbnail Nick Andren thumbnail RING-MODULATOR thumbnail Deftly-D thumbnail Prevert thumbnail Ballerbus thumbnail Adrian Newton thumbnail Shir-Khan thumbnail jez cook thumbnail Mats Monsen thumbnail Brent thumbnail Joshua Barnes thumbnail frikeln thumbnail INTOX-Matze thumbnail Tomas Z Westberg thumbnail dj_static thumbnail more... Landlord 00:00 / 04:41 Streaming + Download Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. £5.99 GBP or more Record/Vinyl + Digital Album package image package image Single black vinyl in gatefold sleeve with artwork designed by David Altweger Includes unlimited streaming of Disturbance via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. ships out within 3 days £17.99 GBP or more Compact Disc (CD) + Digital Album package image CD in 6 panel digipack with artwork designed by David Altweger Includes unlimited streaming of Disturbance via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. ships out within 3 days £8.99 GBP or more 1. Speak Truth To Power 06:21 2. Landlord 04:41 3. Debris 04:33 4. Full Spectrum Dominance 07:27 5. Information Scare 04:50 6. Gatekeeper 05:32 7. GBH84 04:21 8. Two Flames Burn 07:53 about In an ideal world, Disturbance, the new album from industrial pioneers Test Dept, would not exist. It wouldn’t need to. Britain would not stand divided by xenophobia. Working class communities would not be under siege. Capitalism would not have created a climate change crisis pushing the planet towards a dangerous brink. And the Thatcherite ideals that Graham Cunnington and Paul Jamrozy spent Test Dept’s early years raging against would not be so terrifyingly back in political vogue. Back in1981, Cunnington, Jamrozy and a revolving door of talented artists from disparate disciplines and backgrounds formed Test Dept, forging an incendiary new sound from a squat in New Cross that made them underground heroes, landing the group under surveillance by the British government. 37 years later, on Disturbance, that sound is as incendiary as ever. “It began with a project to do with our archive,” recalls Cunnington. It was the early 2010s and Test Dept had been dormant for years. The pair wanted to sort through Test Dept’s old recordings to “re-establish our history and get our music out there again” after record label red tape left many of their 14 albums out of print. When attention turned to the “next logical step of a new album”, an idea emerged – taking germs of ideas from old songs and turning them into new, sledgehammer-heavy sonic experiments full of powerful protest poetry. Politics had come full circle. It felt fitting to do the same with their music. The result is an album that at once peers into the past and roars into the future, across eight tracks that conjure the raw power of Test Dept in their original, 1980s incarnation while adding new elements. “We’re different people now – not spring chickens anymore,” laughs Jamrozy. “We’re still angry but it’s tempered by a slightly different wisdom. We tried to upgrade the sound, to soup things up further.” “Art is not a mirror to reflect reality, but a hammer to shape it,” the poet and playwright Bertolt Brecht once wrote. It’s a mantra that continues to drive Test Dept. who return to their past on this eviscerating new album in order to move into a bold new future. They hope Disturbance can soundtrack a society doing the same. credits released March 1, 2019 Graham Cunnington - Percussion, Electronics, Vocals Paul Jamrozy - Percussion, Electronics, Vocals Zel Kaute - Drums Lottie Lou - Electronics, Live Sound David Altweger - Visual Director Rob Lewis - Additional Drums Ashley Davies - Bass / Percussion Laura Thompson - Additional Vocals on 'Gatekeeper' Roz Corrigan - Piano on 'Debris' Michelle Outram - Cello on 'Truth' Jordi Blanchar & Ilenia Bombardi - Additional Vocals Recorded: Flesh & Bone Studios, Hackney The Shed, Nunhead Mixed & Produced: The Shed Engineered: Lottie Lou Mastered: Giovanni Versari at La Maestra Mastering, Tredozio (FC) GBH84 Is dedicated to The Orgreave Truth & Justice Campaign Artwork by David Altweger Photos by Michael Kötter

€20.00

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TEST DEPARTMENT / TEST DEPT.

Format: 3 x CD BOX Year: 2022

€26.00

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THIS MORTAL COIL

Blood

Format: CD Year: 1991

Third and last album from the 4AD-supergroup. "This group was essentially the creation of Ivo Watts-Russell, the co-owner of 4AD Records, a highly successful Wandsworth, London-based independent label. This Mortal Coil was actually a collaboration of musicians recording in various permutations, overseen and directed by Watts-Russell. The first single, an epic cover version of Tim Buckley 's 'Song To The Siren', was originally intended as a b-side. However, bolstered by the considerable talents of Robin Guthrie and Elizabeth Fraser (Cocteau Twins), it saw its own release and became a near-permanent fixture in the independent charts as a result. The album that followed set the pattern for the occasional outings to come.(...) Featuring a selection of artists from the 4AD roster plus various outsiders, the albums included several cover versions of works by Watts-Russell's favourite songwriters (Buckley, Alex Chilton, Roy Harper, Gene Clark and Syd Barrett )." [unknown source]

€15.50

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TIBETAN RED / THE OVAL LANGUAGE / DAS SYNTHETISCHE MISCHGEWEBE

The Breath of the Hydra

Format: CD Year: 2021

A three way collaboration between the Germany based THE OVAL LANGUAGE, the Catalan TIBETAN RED and DAS SYNTHETISCHE MISCHGEWEBE living in Rennes, France. In an on and off exchange since end of 2016, a continuous exchange of audio material, ideas and suggestions. Salvador Francesch and Guido Hübner meet again after long years at the occasion of a concert of the latter one at the LEM festival in Barcelona. Since then working together became evident as was the choice of including Klaus-Peter John with whom several collaborations had already seen the light of day through the years, most notably the homage to the late Carlfriedrich Claus ‘sprechzimmern’ with RLW as well as a 2x CD collection of collaborations on the notorious Monochrome Vison label in Moscow. The association of their different sound worlds and even more specifically their extremely particular fashions of creating them was meant to merge and melt in a whole able to blur clear distinctions with only an occasional sneaking out of a head and a hissing tongue amongst many that takes the scent and direction respectively in the brooding heat that forges shape and carves direction. TIBETAN RED Salvador Francesch is a catalan-canadian painter, sculptor and sound explorer who lives in La Garrotxa, Girona. He has released 5 CDs in his Tibetan Red project. His work pursues experimentation with sounds that seek to convey some aspects of his interest in Eastern rituals and ceremonial art. THE OVAL LANGUAGE Klaus-Peter John is from Leipzig, the project started as a trio in the early 80’s working to turn into his solo project with sound, noise works in open spaces, photography, installations and land-art informed projects in which mainly the voice is put center stage. DAS SYNTHETISCHE MISCHGEWEBE started in the early 80’s in Berlin with cassette production and performative concerts, exhibitions and installations to which a D.I.Y. approach of a lot of customized equipment became inherent accompanying an interest in several areas of science and technology. Moved to Barcelona then France, producing many recordings and performance works. https://emerge.bandcamp.com/album/the-breath-of-the-hydra "The Breath of the Hydra (ACU 1029), da weißt man ja, es sind drei Köpfe. So auch hier: TIBETAN RED + THE OVAL LANGUAGE + DAS SYNTHETISCHE MISCHGEWEBE. Ersterer, Salvador Francesch in La Garrotxa in den katalonischen Pyrenäen, hat dem mit Todo entretenimiento es una anticipación del infierno auch das Motto vorangestellt. Der Dichter José Bergamin soll das gesagt haben, als Vorstand der Alianza de Intelectuales Antifascistas der kulturelle Kopf der Spanischen Republik, der Picasso den Auftrag zu "Guernica" gegeben hat. Francesch teilt mit Bergamins Rechtfertigung des 'Roten Terrors' allemal die Vorliebe für Rot und offenbar auch die Vorfreude auf die Hölle. Blödsinn, natürlich die Abneigung gegen Amusement. Er ist mit seinem Debut 1985 auf Freedom in a Vacuum nicht ganz so lange dabei wie Guido Hübner, der ab 1981 sich der Cassette- & Soundculture einschrieb. Bei "Sprechzimmern" (2015), einer Hommage an den konkreten Lautpoeten Carlfriedrich Claus, und zehn Jahre zuvor bei 'Papillon Schizophone' war er dabei auch schon mit Peter John zusammengekommen. Der Leipziger, der in den 80ern als Sänger bei Neu Rot (!) anfing, hat sich nach "Hibernation" & "Waldkonzerte" auf Edition Telemark zuletzt mit "Hexen Hexer" gegen Denunziation und Hexenjagden positioniert, auch wenn heute dabei, anders als im Spanischen Bürgerkrieg und beim Hydraschlachten, seltener Blut fließt. Ich kann mir eine 'Melancholie des Widerstands', wie sie Hübner von László Krasznahorkai aufgegriffen hat, als das Verbindende zwischen den dreien vorstellen bei ihrem alchemistischen Procedere mit brodeligem Köcheln und Sieden, das einher geht mit kratzigen und schleifenden Impulsen und hohleren, quasi perkussiven Anmutungen, die das überwölben. Dazu vexieren zirpige, halbwegs natürliche Klänge mit einem leisen, hauchzarten 'Schreiben' mit metallischem Griffel, über das motorische, zischende, sirrend oszillierende Attacken hinweggehen und einen industrialen Dominator installieren, der impulsiv oder gedämpft rumort und infernalische Stimmen nur ahnen lässt. Der Griffel schreibt weiter in einer opaken Nichtstille und hat dabei etwas von einem Keuchen oder Röcheln an sich. Martialische Wellen mischen das auf, und zischende Ventile machen das zu einem Tauchgang in die Schinderwerkstätten der Schlotbarone. Trappeliges Toben, abgerissene Kürzel und tatsächlich der Kehle entrissene Laute verunklaren dabei die Differenz von Mensch-Maschine, Organisch-Anorganisch, Außen-Innen, Hart-Weich, Makro-Mikro. Immer wieder leise als bruitistische Audiographie aus winzigen, halb wie gehauchten Krakeln vor einer nun dröhnend bebenden Klangwand. Wenn nur das Schreien nicht wäre, das infernalische, kaum zu hören, aber doch nicht zu leugnen. Ganz in der Nähe - Folterkeller, Höllen. Die satanischen Mühlen mahlen als zerrende Tonbandspuren, weiß der Teufel, was sich hinter verschlossenen Türen alles abspielt. Scharrt da wer an Metall? Was sind das für unheimliche Heimlichkeiten?" [Bad Alchemy] "German Attenuation Circuit label run by Sascha aka EMERGE, has released a new album in which three sound artists of electronic experimental music collaborate: German artist The Oval Language, Catalan Tibetan Red and Das Synthetische Mischgewebe who lives in Rennes, France. "The Breath of the Hydra" is the result of exchanging audio files since the end of 2016. Salvador Francesch is a Catalan-Canadian painter, sculptor and sound explorer who lives in La Garrotxa, Girona. He has published five CD's with his Tibetan Red project. Klaus-Peter John aka The Oval Language is from Leipzig and works in noise, open space, photography, installations and informed land-art projects where the voice takes center stage. Guido Hübner aka Das Synthetische Mischgewebe started in the early 80's in Berlin with the production of cassettes and performance concerts, exhibitions and installations. This album consists of a single track of almost 52 minutes long which unfurls two faces. One, the sound is almost imperceptible and silence plays a relevant role. In the other, drones and noises are the background of a proposal with a strong organic character and consequently, gasping and buried voices are barely heard and spit out an indecipherable language. The clicks near the middle of the track look like whips that are followed by screams which are in the distance. All this takes place in a dark ambience that well represents the history of the Hydra." [Guillermo Escudero/LOOP] https://emerge.bandcamp.com/album/the-breath-of-the-hydra, http://www.attenuationcircuit.de/

€12.00

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TIETCHENS, ASMUS

Fast ohne Titel, Korrosion

Format: CD Year: 2013

"Black Rose Recordings are proud to present the exceptional new album by Asmus Tietchens. Corrosion is a degradation mechanism. It is an insidious process often difficult to recognise until deterioration is well advanced. Are these new pieces a comment on the current state of noise music, serious music or both? As a pioneer of electronic composition his work spans over three decades and doesn’t fit easily into any one category. Early recordings ranged from experiments with tape machines and electronic sound through to experimental pop. Later works were a more sculptural blend of abstract microelectronics, industrial sounds and musique concrete. Never straightforward or obvious, always unpredictable and innovative his ground breaking music influences many working in today’s experimental music scene. He has worked almost exclusively as a solo artist but recent releases have seen him collaborate with well known and diverse artists such as Dieter Moebius (Cluster & Harmonia), Thomas Koener and Richard Chartier." [label info] www.tietchens.de "In my spare time I listen to pop music, usually, but then, in 2013, I asked myself: why do I still have so many CDs? Isn't it about time to listen to those again, and see what you have, which are keepers and which are goers. In a random fashion I pick a bunch of CDs of the shelf and play them until the end, because, when not played to the end, what's the reason for keeping them? From some artists I stayed away for a while. I can safely say I have almost all of the works by Asmus Tietchens, but I was afraid of going there. I feared I would not find enough concentration to examine each and everyone properly and make the wrong decision and see them go. But once I started to play them I was totally immersed. I am nearly done with all of them, and then much to my surprise, here's a new work by Tietchens. The titles poke fun with the notion of 'ernste musik', the German term to create a distinction between serious music and entertainment music. Maybe its a comment, Black Rose asks, on 'the current state of noise music, serious music or both'? An interesting question, perhaps, but much to my surprise I notice something else. In the past ten years Tietchens explored the quiet areas of electronic music, with some highly refined music, not unlike the work of say Richard Chartier. Here he seems to return to some of his earlier electronic music, from the late 80s, early 90s, but perhaps generated with the means he uses these days. This results in a piece like 'Kaum Noch Ernste Musik', with a pulsating click beat (think Pan Sonic or Goem), and the well-know Tietchens tricks on oscillators. It's something entirely different than what you would expect. Maybe it's a bit long this piece which clocks in at over ten minutes. Throughout the pieces on this album, eight in total, do not have strong rhythm sounds, but they surely sound louder than we are used from him in recent times. It takes the 'serious' electronic music from the sixties, with it's sustaining sounds fading in loud and about. It's heavy music, but it's great music. Only in a few pieces, aptly called for instance 'Sehr Ernste Musik', Tietchens shows some of his more quiet side, but in the other pieces he sounds like his tape manipulation work 'Daseinsverfehlung', bursting about, such as in 'Eingeschränkt Ernste Musik'. And then there is also the humorous Tietchens with a vinyl loop in 'Keine Ernste Musik' or 'Im Ernst? (Für H.K.)', which sees him playing something that sounds like Trautonium. This, ladies and gentleman, is an excellent CD. If you are keen to hear new musical movements by this man, but not every move, then this is one of those releases you should surely hear." [FdW/Vital Weekly]

€13.00

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TIETCHENS, ASMUS

Adventures in Sound / Nachtstücke

Format: do-CD Year: 2003

Das Bremer Label DIE STADT startet eine Wiederveröffentlichungs-Serie von nicht mehr erhältlichen TIETCHENS-Scheiben – hier der Anfang mit der allerersten LP ‚Nachtstücke’ von 1980, die noch Früh-Achtziger Charme aufweist, dazu schier unglaubliches Material aus den Sechzigern auf der zweiten CD !! “First in a series of 18 CD's aiming to make available all early vinyl albums by ASMUS TIETCHENS between 1980 - 1991 on CD. Each release feat. the original tracks (sometimes extended / original versions) + unreleased bonus tracks from the same recording period, original artwork + accompanying texts by TIETCHENS. This - the only 2CD in the series - feat. his very first album 'Nachtstücke' from 1980 (incl. 4 bonus tracks) + a 2nd CD with archive material recorded with his long time friend Okko Bekker between 1965-1969. These are the first works in TIETCHENS long career as a sound artist and were never released before. Edition of 1000 copies in jewelcase with full color poster booklet. About the artist: ASMUS TIETCHENS started recording music as early as 1965 (documented here on 'Adventures In Sound') though his first release only appeared 15 years later ('Nachtstücke'). Ever since then he stayed very productive and had numerous cassette, vinyl and CD releases on numerous labels (Sky, United Dairies, Dom, Staalplaat, Ritornell and Die Stadt to name just a few). He has collaborated with various other like minded artists such as Okko Bekker, Cluster, Conny Plank, Terry Burrows, Liquidski, David Lee Myers (Arcane Device) and most recently with Thomas Köner who is one half of their ongoing collaborational project KONTAKT DER JÜNGLINGE (who so far released 3 CD's DS34/DS39/DS48 on Die Stadt).” [press release]

€18.00

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TIETCHENS, ASMUS

Biotop

Format: LP Year: 2013

"Scheppernd, künstlich und plärrend bunt: Reissue des 81er-Albums des Hamburger Elektronikers. Asmus Tietchens ist einer der bekanntesten deutschen Künstler im Bereich der abstrakten Musik. Fünf seiner Frühwerke, die grob im Bereich Avantgarde-Synthiepop zu verorten sind, werden nun beim Label Bureau B wieder veröffentlicht. "Biotop" war 1981 Tietchens’ erste LP bei Sky Records (u. a. Cluster, Rother, Roedelius, Moebius, Plank, Riechmann). Es mag rückblickend wie eine bewusste Irreführung erscheinen, dass die ersten musikalischen Hervorbringungen von Asmus Tietchens als schräg tönender Pseudopop daherkommen. Vier Alben aus den Jahren 1981-83 sowie diverse Einzelstücke bilden die "Zeitzeichen"-Phase, die sich mit den Worten ihres Urhebers durch den Einsatz von "rhythmisch-harmonischen Versatzstücken und quietschbunten Schallplattenhüllen" auszeichnet. Die Stücke auf "Biotop" sind mit ihren insektoiden Fiepstönen, der bollerigen Perkussion und der verschleppten Kinderliedhaftigkeit so scheppernd, künstlich und plärrend bunt, wie es den Vorstellungen eines Künstlers entsprach, der reguläre Unterhaltungsmusik weder herstellen konnte noch wollte. // Asmus Tietchens is one of the best known German artists in the field of abstract music. His early works though are finest avant-garde synthesizer pop. "Biotop" was Tietchens' first release on the German label Sky Records (Cluster, Michael Rother etc.). It is inhabited by insectoid squeaks, banging percussion and echoes of displaced nursery rhymes. These blaring, crashing tracks glare with artifice, mirroring the ideas of an artist lacking the inclination and capacity to compose straightforward easy listening music. "Spät-Europa" also conveys a banefully distorted pseudo pop soundscape of disjointed rhythms and oblique melodies, defined by nervous pulses, cool alacrity and croaking toots; tongue in cheek it most certainly is, but the musical arrangement again affirms its own identity. Here, shadowy, rumbling industrial elements cut into the neon coloured pieces indicative of the artist's parallel lines of development. Both reissues are available on CD (Digipak), vinyl (180g) and for download." [label info] www.bureau-b.com

€20.00

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TIETCHENS, ASMUS

Spät-Europa

Format: LP Year: 2013

"Wieder veröffentlichtes Album aus der Frühphase des Avantgardemusikers. Asmus Tietchens ist wohl einer der bekanntesten Künstler im Bereich abstrakter Musik. Fünf seiner Frühwerke, die grob unter Avantgarde-Synthiepop zu verorten sind, werden jetzt vom Label Bureau B wieder veröffentlicht. Während Tietchens mit "Biotop" (1981) plante, "in die Zukunft" aufzubrechen, zeigt er sich auf "Spät-Europa" in dieser angekommen. Als zweites Album der "Zeitzeichen"-Phase im Jahr 1982 auf Sky Records veröffentlicht, führt es den Stil des Vorgängers nicht nur weiter, sondern bringt ihn um eine Nuance treffender auf den Punkt. Auch "Spät-Europa" transportiert jene gallig übersteuerte Pseudo-Pop-Klangwelt voller verstolperter Rhythmen und schräger Melodien. Dabei ragen mitunter düster grollende Industrial-Elemente in die neonbunten Stücke hinein, wohingegen die Form der Stücke knapp und pointiert gehalten wird: Wie schon auf "Biotop" strebte Tietchens auch auf "Spät-Europa" 20 Zwei-Minuten-Miniaturen an. Und auch hier bildet mit "Epitaph" ein betont sperriges Stück den Abschluss. Asmus Tietchens is one of the best known German artists in the field of abstract music. His early works though are finest avant-garde synthesizer pop. "Biotop" was Tietchens' first release on the German label Sky Records (Cluster, Michael Rother etc.). It is inhabited by insectoid squeaks, banging percussion and echoes of displaced nursery rhymes. These blaring, crashing tracks glare with artifice, mirroring the ideas of an artist lacking the inclination and capacity to compose straightforward easy listening music. "Spät-Europa" also conveys a banefully distorted pseudo pop soundscape of disjointed rhythms and oblique melodies, defined by nervous pulses, cool alacrity and croaking toots; tongue in cheek it most certainly is, but the musical arrangement again affirms its own identity. Here, shadowy, rumbling industrial elements cut into the neon coloured pieces indicative of the artist's parallel lines of development. Both reissues are available on CD (Digipak), vinyl (180g) and for download." [label info] www.bureau-b.com

€18.50

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TIETCHENS, ASMUS

Schatten ohne Licht

Format: CD Year: 2022

Format: CD Year: 2016

With the obsolescence of storing and reproducing media devices, a lot of information becomes unavailable and inaccessible but does it mean it has ceased to exist as information? What happens with a film whose last copy is in Beta tape when it can no longer be reproduced? On the second semester of 2014 Bruno Duplant and David Vélez started to dialogue about this subject and decided to compose a piece that points out to these questions presenting them as the construction of a place. We usually figure out that a place and the objects in it produce the sounds that we listen in there but in sound composition for the listener, the sounds build a place and the things inside it, a place that he inhabits with his imagination. The two artists selected to work with sounds stored in media that is no longer available like VHS, Beta, floppy discs, zip drives, laser disc..etc… media that is becoming less and less accessible and that at one point could be unable to reproduce. Duplant and Vélez were expecting that these sounds could build a place that were eerie and bleak, not really pleasant and where the listener could probably feel vigilant and uncomfortable as if in presence of something that he won’t perceive but that is actually there. (Lina Velandia, August 2015) www.unfathomless.net

€14.00

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VERNON & BURNS MEETS LIED MUSIC

Lost Lake

Format: LP Year: 2011

Lost Lake sees the return of the collaborative project between sound art duo Vernon &: Burns (Mark Vernon and Barry Burns) and Lied Music (Luke Fowler and John W Fail). It is a sequel to the long-sold out LP Lied Music vs.Boy-Band Tax Returns (released on Ultra Eczema, 2006). This LP merges musique concrète compositional approaches with absurdist improvisational strategies. The four artists met in Glasgow where they recorded a series of sporadic improvised sessions using a diverse array of sound-making instruments (amplified toys and objects, guitar, analogue synths, percussion, squeeze box, field recordings and found tapes). Improvised sessions from 2008 were subsequently manipulated, tortured and caressed, both individually and collectively, into a series of highly idiosyncratic song-forms and sound collages. https://vernonandburns.bandcamp.com/album/lost-lake "The latest entry in the Vernon & Burns catalogue sees this Glasgow duo teaming up with Lied Music, the duo of Luke Fowler and John W. Fail. Lost Lake (SHADAZZ SHA.11) is one of the stranger and darker emissions from these talented creatives, particularly if you care to compare it with the sometimes more playful assemblages of V&B, or the deliciously offbeat melodic avant-pop tunes created by Fowler as part of Rude Pravo. At first spin the record is a near-bewildering toasted-cheese sandwich, a concoction which contains at least a zillion ideas apparently thrown together any which way. Faced with such an array, discerning avant-LP listeners may want to reach for The Faust Tapes as one touchstone, but another credible precedent is the unearthly Bladder Flask LP 1, that ne plus ultra of cut-up sound art put together by a teenaged Richard Rupenus as if possessed by some fevered desire to surpass the worst excesses of the lunatic fringe end of the United Dairies catalogue. But the Bladder Flask release had the underlying sinister aim of sending all those who heard it mad, through highlighting the complete absurdity and futility of everything. Lost Lake has a more benign mission, thankfully. The album has been very carefully crafted, using sets of recorded improvisation sessions produced by the four players, aiming to resculpt the near-chaos of that source material into a coherent structure. Within that structure, fractured songs and equally fractured stories emerge; yes, a scrambled form of a radio listening or cinematic experience, which is an effect Vernon & Burns have striven for with a good deal of their work (and have produced many items expressly in radiophonic mode). As to the cinematic, Fowler is also a film-maker. There is a logic to this scheme, but it is hard to follow and weaves its way around in a highly secretive and intuitive fashion, like an errant underground stream full of eccentric fish and darting river-insects stained in unnatural colours. We could account for some of this quirkiness by pointing out that all four creators were involved in the refashioning process, rather than a single editorial hand behind the editing knife; one can imagine the clashing dynamism generated by four powerful personalities, each of them bending the path of events in their favour. Additionally, the source material itself was not exactly straightforward music to begin with, but created using the now-virtually-standard set-up of the modern improviser, that is amplified instruments, toys, found tapes, field recordings, and live electronics. From this rich stew, voices and tunes emerge from amid a varispeeded and highly layered humid aggregation of extremely strange sounds. And yes, like the Rupenus LP, it is quite absurdist, but I like to think it’s a fun and cartoony absurdity, rather than bleak and Beckett-like. That said, this aural bric-a-brac crawls out from a dark attic of the mind, and is as much an unsettling listen as it is entertaining. Corin Sworn’s cover art encodes all the above information quite perfectly. Using collage technique (naturally), it depicts a figure sitting on a sofa surrounded by hideously “tasteful” drapes and furnishings. This image of bourgeois normality is thoroughly disrupted by replacing the outline of the figure with fragments of urban horror and machinery, then further scrambling the visual schema with concentric rings and diagonal bars, suggesting the power of the aural emanations on the record. The album is, we are told, a sequel to a 2006 release called Lied Music vs Boy-Band Tax Returns, which we reviewed in our Vinyl Viands issue." [Ed Pinsent, Sound Projector online, December 15, 2012]

€16.00

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VIBRACATHEDRAL ORCHESTRA

Dabbling with gravity and who you are

€14.50

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WE LIKE WE & JACOB KIRKEGAARD

Time is Local

Two bodies of water, contained in man-made channels and held back by barriers. Such is our desire and need to control nature, that we have used this resource to aid our industrious endeavours, often at the expense of the local area and environment. Steel, wood and concrete stand tall, holding back huge volumes of water to be channelled to produce electricity, cooling processes or simply be stored for future use. Often these processes contaminate the water – some bodies we visited are so poisonous they no longer support life, although from our point of view they are beautifully clear and limpid... The sound of water infiltrates the fabric of the materials used to control them and this became my focus. Recording these sounds through the surfaces and materials of the restricting structures I hoped to retain some of the energy passing through them. Then in a process of self-reference, I played the recordings back through the materials, documenting the results, and repeated this process a number of times. The sounds became more tonal and some frequencies were enhanced, just as others dissipated. Recording both directly from the surfaces of the materials and extremely close to them, I hoped to capture the vibrations passing through the structures but also the air in close proximity to their surfaces. The results have very little audible space and are rather claustrophobic, but also quite varied. Both projects called for a performance to result from the recorded material, which then did allow these sounds the space they required, changing the way they are perceived. I advise listening through good quality speakers rather than headphones or earbuds, as the work requires this distance and to be able to move freely within the listening space, just as water would flow from an opened lock gate or a broken dam. Postscript: The title 'Dry' is an obvious reference to the subject of the work being water, but also that the recordings were not processed using software plugins (where one uses the terms wet and dry to specify the amount an effect is used on a source) but by the recording and playback process itself. (simon whetham, December 2019) LOCATIONS : Greenlightdistrict Festival, Skotfoss, Telemark, Norway Reservoir Festival, Linachtasperre, Black Forest, Germany. Source recordings made in 2019 during two closely related projects. Mastered by Flavien Gillié. ~ Thanks to : Jørgen Larsson, Tom Hovinbøle, Simon Torssell Lerin and Bettina Hvidevold Hystad, Susana Lopez, Tine Surel Lange and the team of Greenlightdistrict festival, Ypsmael,Norbert Schnell and the artists and team of Reservoir Festival, and Helen An for her love and support. Additional art card, cover design & treatments by Daniel Crokaert. Based exclusively on photos by Susana Lopez & Tom Hovinbøle. https://unfathomless.bandcamp.com/album/dry

€14.00

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WHETHAM, SIMON & FRIENDS

Meditations on Light

Format: do-CD Year: 2011

"In 2009 Simon Whetham was commissioned by painter Kathryn Thomas to compose a surround sound composition and installation to accompany her Darkspace project, a series of paintings inspired by the infinity of the cosmos, which was exhibited as part of her biggest solo exhibition to date, 'Lightyears'. The composition was also mixed down to a stereo version, mastered by Scanner, and released on Simon's own label, Traceable Echoes, to be available to visitors of the exhibition. Many other artists heard the work and gave praise to this departure from Simon's work up until that point, as for the first time he had composed with much more musical elements, and an idea emerged. Simon was already planning his own reworking of the raw materials of 'Lightyears', as he felt the brief was very restrictive, and wanted to hear the results of using the same material without these constraints. He also offered the opportunity to all artists who responded positively to the work to produce their own characteristic interpretation of the composition.Here are the results; a common thread is evident, but very individual voices are heard, leading you on an immersive, engaging journey..." [label info] www.monochromevision.ru

€15.00

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WIESE, JOHN

Circle Snare

Format: LP Year: 2010

"PPM31 - JOHN WIESE LP. FIRST PRESSING OF 500. BLACK VINYL. HEAVY UNCOATED PAPER STOCK. PRINTED INNER SLEEVES. Description - John Wiese is an artist and composer from Los Angeles, California. His ongoing projects include LHD and Sissy Spacek, with plenty of freelance work with many artists as diverse as Sunn O))), Wolf Eyes, Merzbow, Evan Parker, Smegma, Kevin Drumm, Cattle Decapitation, and C. Spencer Yeh (Burning Star Core). He has toured extensively throughout the world, covering Europe, Scandinavia and Australia as a member of Sunn O))), the UK as part of the Free Noise tour (a tentet including Evan Parker, C. Spencer Yeh, Yellow Swans, etc.), the United States alongside Wolf Eyes, and recently performed in the 52nd Venice Biennale with artist Nico Vascellari. Consider “Circle Snare” a hard-wrought souvenir. Composed and realized in the midst of a comprehensive Scandinavian/European tour in 2008, John Wiese found himself tangled deep in dialogue with his instruments and ideas. wiese increasingly scrutinized his native tongue and vocabulary, seeking new forms of grammar and cadence, as only extensive dives in unfamiliar waters can inspire. his given electronic anatomy of drum machine, microphones, tapes, and msp folded out of their hard accustomed formations, breaking out into a more cogent and vital arsenal. “circle snare” is the cumulative result, a finely detailed and dimensional evolution of an already unique voice. the circle is a spiral from the side, and the greatest trap is standing still. cd version released on no fun productions in 2009, this vinyl version is limited to 500 copies." [label info] www.postpresentmedium.com

€16.00

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WIESE, KLAUS

Maraccaba

Format: LP Year: 2023

Look no further for some classic contemporary ambient music! Originally released on tape in 1982, Maraccaba is the second solo album from Deutsch electronic wizard Klaus Wiese, a Popol Vuh member during the recordings of iconic masterpiece as "Hosianna Mantra" and "Seligpreisung." Klaus Wiese was a veteran musician, minimalist, and multi-instrumentalist. A master of the Tibetan singing bowl, he created an extensive series of album releases using them. Wiese also used the human voice, the zither, Persian stringed instruments, chimes, and other exotic instruments in his music. Wiese is considered by some as one of the great ambient or space music artists alongside Robert Rich, Steve Roach, Michael Stearns, Constance Demby, and Jonn Serrie. His musical style is much more appropriately compared to the organic soundscapes of drone and dark ambient music, such as Oöphoi, Alio Die, Mathias Grassow, and Tau Ceti. In the 1990s he founded the Nono Orchestra to play the giant sheet metal instruments of Robert Rutman. Wiese is known also for his collaborations with Al Gromer Khan, Mathias Grassow, Oöphoi, Tau Ceti, Saam Schlamminger, and Ted de Jong. He collaborated with Deuter on his Silence is the Answer album in 1980 and East of the Full Moon in 2005. Edition of 500.

€23.50

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WINER, LESLIE & VON HAUSSWOLFF, C.M

1

Format: LP Year: 2015

Leslie Winer is an artist and author living and working in France. Earlier releases include Witch (recorded in 1990, released in 1993), & That Dead Horse (recorded in 1994, released in 2010), Always Already (2011), and the retrospective compilation Leslie Winer &c. (WHO 003CD, 2012). She has collaborated with Jon Hassell, Bomb the Bass, Mekon, and her words and voice were heard on a track on CI by Diamond Version (Carsten Nicolai and Olaf Bender) (2014). As of 2015, she is co-editor and co-executor for the estate of beat writer Herbert Huncke. (1), by Winer and Carl Michael von Hausswolff, is Winer's first full-length original release to be recorded since 1994. CM von Hausswolff divides his time between the worlds of music and visual art. His records, which he has been releasing since 1979, have been released by such labels as Radium 226.05, Ash International, Raster-Noton, Laton, iDEAL, and Touch. He curates Freq_Out, a collaborative sound installation shown in Paris, Berlin, Stockholm, Marrakesh, and beyond, with such artists as JG Thirlwell, Finnbogi Petursson, Jana Winderen, and Christine Ödlund. He makes films with Thomas Nordanstad and music with Martin Rössel (as Gomila Park), Jean-Louis Huhta and Graham Lewis (as Ocsid), and Joachim Nordwall and Jason Lescalleet (as ENOUGH!!!). Leslie Winer and Carl Michael von Hausswolff met in 2011 in Lisbon, Portugal, via Philip Marshall, co-owner of The Tapeworm. They decided to make a vocal/electronic music collaboration just for fun, with no intentions to have it on any kind of phonogram. Time proved different! Text and vocals by Winer; music by von Hausswolff, except for "Talked to some of them," which features music by von Hausswolff and Nordanstad, from their 2009 film Electra, Texas 2008. Recorded, mixed, and treated in Vigny, France, and Stockholm, Sweden, 2012-13. ##################################### "Leslie Winer has long been an intriguing figure to me, an eighties fashion model who while in London frequented Leigh Bowery's infamous Taboo nightclub. In New York in the seventies she lived with Jean Michael Basquiat and became acquainted with the Beats in the form of William S. Burroughs and Herbert Huncke. But it is her association with musicians connected to Adam And The Ants that really gets me. She had a short lived marriage to Kevin Mooney, and was instrumental in his post Ants projects Max and Wide Boy Awake. This is her first proper album since Witch, a cult album with a turbulent history which first surfaced as a white label before its official release in 1993 on Transglobal Underground's own label. Its hazy atmosphere, spoken passages laced with samples and dub infused beats, has as many commentators pointed out laid down something of a blueprint to what became known as trip hop - something which Winer herself has reservations about. Witch featured a rich ensemble of artists including bassist Jah Wobble, filmmaker John Maybury, and various ex-Ants musicians including Mooney and Matthew Ashman, alongside Mooney's former Max/Wide Boy Awake associate John Keogh, as well as Karl Bonnie of Renegade Soundwave. Winer also featured on Sinead O'Connor\'s The Lion and the Cobra which in various formations also included Mooney, Marco Pirroni, and O'Connor\'s ex-husband John Reynolds, who also turns up on Witch. The interconnectedness between these players beggars belief and that\'s without bringing in John Gosling's Mekon whose releases feature many of the aforementioned, as well as Winer herself. But that's just the backstory. In 2010 The Tapeworm released & That Dead Horse, a collection of unreleased recordings, while 2012 saw the release of & © on The Wormhole, containing material from the aforementioned Witch with other material recorded in Miami and collaborations with Vincent Gallo and Christophe Van Huffel. Van Huffel would go on to work with Winer as Purity Supreme releasing the guitar strewn atmospherics of Always Already as a 12-inch on Ash International. It was around this point The Tapeworm's Philip Marshall brought together Leslie Winer and Swedish sound artist and composer Carl Michael von Hausswolff, who agreed to collaborate on music. The results are (1). It's easy to regard Winer's delivery as a stream of consciousness, but there's thought behind her lyrics and particularly in the emphasis found within her phrasing. Lines appear and then reappear later in another form, as she plays with reality, in a voice deeper and more lived in than the mischievous delivery of Witch. It's difficult to ascertain Winer's viewpoint in her words on (1), as they sway between the poetic and the philosophical, especially on the longer tracks found on the first side. On 'I'll Be Mother' over a discreet ringing drone, she ruminates about "the next generation" and the need for "a pharmacological method of making people love." Her husky drawl, speaks of a susceptible populace where "we are creators, yet we have also been created". "I'll Be Mother" she repeats, adopting the role of the maternal figure characterised in the ritual of making tea. Winer, as executor to the works of Herbert Huncke, has long been associated with the Beats, but it is in the following track the friendship and the education learned from William Burroughs comes to the fore. 'I'll Be Mother' may have touched upon the Control Process that Burroughs dwelt on, but 'This Discreet Organ' looks to transformative powers of interconnectedness, touching upon observation and evolutionary evidence to question "long held notions of who and what we think we are" where time, sequence, speech, language and pattern recognition play a role. This is Winer in full-on philosopher mode: "The concept of what a thing looks like takes precedence over direct observation". In measured breathless tones she reflects on human development and the need for sleep, questioning evolution, biology and gender roles when she inquires "Did women throw enough spears?" Mirroring Burroughs she asks "Who is running the show?" over Von Hausswolff's lingering drone. More than ever on 'Can I Take Your Order' her husky, hesitant delivery apes the sardonic drawl of a Burroughs reading. The text concerning culture and patriarchy is cut-up with various sections reappearing and reformed over the powerful undulating drones of von Hausswolff. While much of von Hausswolff's score is understated and subtle it is much more prevalent here - and in all the tracks on side 2 - gently swelling around Winer's fragmented oblique text entwining biographies of an aspiring writer and isolated academic. Juddering glacial tones form a frosted layer to the treated, distant and hard to discern delivery of Winer on 'Weatherman'. The closing track 'Talked To Some Of Them', additionally features and is credited to Thomas Nordanstad. It is taken from Electra, Texas 2008, the third in a series of films by CM von Hausswolff and filmmaker Thomas Nordanstad. The music is reduced to arching electronics, rising and falling behind Winer's fragmented musings, recycling text that originally surfaced on 'I'll Be Mother'. "This seems to be the final revolution", she muses, over effects resembling distant tolling bells. Last year, Leslie Winer, in a photographic session by Juergen Teller, became the face of Vivienne Westwood's 2014 campaign, and amidst all the Tapeworm associated releases it seems Leslie Winer, from her reclusive life in France, is making tentative steps back to into the public arena. Without downplaying von Hausswolff's contribution here my focus on (1) is in on Winer, her voice and the spoken word text giving form to her philosophy and current thinking. (1) won't garner the gushing words that surround Witch, recently reissued by Superior Viaduct, but (1) does show she still has much to say, and (1) is worth seeking out, especially if either artist is of interest. For more information go to Monotype Records" [Compulsion Online]

€26.00

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WINTER FAMILY

Red Sugar

Format: CD Year: 2011

"Second long awaited album by duo Ruth Rosenthal and Xavier Klaine, actually based in Brooklyn. A rare and unique audio worldview expressed by the singular approach of Ruth Rosenthal (voice) and Xavier Klaine (harmonium, organ etc..). From the first bares of Searching Donkeys this new album creates a glowering and intense atmospheric...part nightmare, part uplifting dreamscape. It permeates and builds into a compelling whole. a reference point might be some of the output of Constellation records - indeed GYBEs Norsola Johnson plays on this record.. However it is doubtful whether any of those artists ever produced anything to match the taut tension of the title track Red Sugar..an hymn to absence. The ambition of Winter Family is evident on the expansive, orchestral epic dancing in the sun..crank your speakers, sit back and open your mind.. it WILL blow you away." [label info] www.subrosa.net

€13.00

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WIRE, THE

issue # 285 (Nov. 2007)

Diese CD erschien zum Anlass des - leider sehr mässig - besuchten Konzertes in Bremen am 11.November 2006, wo die Besucher Zeuge eines fantastischen DAVID LINTON-Konzertes werden durften. Auch die CD überzeugt mit 4 Stücken: ein kurzer obskurer Z'EV live-Mitschnitt mit cut-up voices aus London vom April 1990, ein exzellentes fast 20minütiges neues Power-Ätherdrone-Stück (Zusammenarbeit von LINTON und Z'EV), ein Live-Mitschnitt einer LINTON-Performance (New York Mai 2006), und ein ebenfalls sehr frischer Remix von LINTON von Z'EV source-Material. Ein kleiner, fast unauffälliger Release, der dem geneigten Drone-Fan aber sehr ans Herz gelegt sei!! "A four track CD released in conjunction with a live concert on the 11. November 2006 in the 'Lagerhaus' Bremen, feat. Exclusive tracks by Industrial Music legend Z'EV and New York based percussionist and multimedia artist DAVID LINTON who has worked with among others: Lee Ranaldo, Glenn Branca, Rhys Chatham, Diamanda Galas, Christian Marclay and Elliot Sharp. Each artist is featured with a solo track plus a remix of the other artists material. Limited edition of 500 numbered copies. Playing time: 60:36 min. Track listing: 1. Z'EV 'Soliloquy #1' 11'11 2. Z'EV 'Not Nil' 19'58 3. DAVID LINTON 'Emerald Portal Excerpt - Part 1' 22'27 4. DAVID LINTON '7/11 elective-RE:mix_Z'EV' 7'00" [label info]

€12.00

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Z'EV & HATI

Heart of a Wolf

Representing Ahad's Flux Worlds 1, the lengthily titled 'Nemo Point Soundmap...' album is the very latest solo offering from this Hungarian sonic traveller now based in Berlin, Zsolt Sőrés. Spread over the two discs are seven pieces that take a combination of viola, bass, piano strings, voice, mellotron, dictaphone, percussion and all manner of other instrumentation and objects into a realm where inner space folds in on itself and unwittingly assumes the guise of multitudinous journeys to those far-reaching points many a shaman (sonic or otherwise) has attempted to draw from. Despite his background in academic music, Zsolt has always broken beyond this with the help of a deep-seated interest in kosmische music, psychedelia and the kind of improvisational approach responsible for having produced artists as wide-ranging as AMM, This Heat and Organum. Also, these days, a regular collaborator with Zappi of Faust, past credits include collaborative work with Jean-herve Peron of Faust, Faust themselves, Franz Hautzinger, Christian kobi, Adam Bohman, Theme and many more. He also works with Hilary Jeffery in the fully immersive wall of stream-of-consciousness sound that is Inconsolable Ghost (who once had a cassette released by Fourth Dimension Records). If anybody could be heralded as a true practitioner of what could be best described as transitional music in its purest form, then Zsolt must be that artist. Fourth Dimension Records and Zsolt's own Hinge Thunder are happy to help bring the latest mapping of this particular sonic multiverse to your ears. Released in January 2023. Note that Ahad's Flux Worlds 2 will follow on vinyl in February 2023. It will also be joint-released by Fourth Dimension Records & Hinge Thunder. Both releases are being published with the support of the DAAD Artists-in-Berlin programme. https://hingethunder.bandcamp.com/track/nemo-point-soundmap-for-terrestrial-melanoheliophobics

€16.00

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Artist	Album	Format	Description	Year	Price (incl. 19% VAT)
AALFANG MIT PFERDEKOPF / EMERGE	Die kosmische Zygote / Hináphapi	MC	two Drone Rec. 7" artists in a surrealistic marriage: first re-issue by the fine taalem mCDR from 2006 (23 min, re-mastered 2023), plus lots of unrelased stuff: a new epic collaboration piece called "Hináphapi" was created in 2023 (36 + min!), and two mysterious "intermissions" ("Pausenmusik") fill the gaps and sublime black holes (another 30 min)...lots of unidentifiable drone objects surrounding your ether synapses.. C-90, handpainted cover	2024	€9.50
ABECASSIS, ERYCK & FRANCISCO MEIRINO	La Gueule du Loup	CD	the result of raw and tension filled "anti-structure improvisations", both artists work here 100% with modular synths, patches are build spontaneously during the sessions... crude buzzing and cracking noises, electrical grindings and quantum whimper with lots of cut ups and breaks, more noisy but also brooding parts... these seven tracks were recorded at Studios INA-GRM in 2015	2017	€12.00
AGONIST SOUNDS MAGAZINE	No. 1	mag	from the house of NOISE RECEPTOR JOURNAL comes this new "industrial + noise" mag soleley dedicated to INTERVIEWS with artists from the scene	2025	€13.00
AKITA, MASAMI	Wattle	pic-LP	the series of picture discs on Elevator Bath (with visual artwork by the artists themselves) finally continues with a release by MASAMI AKITA aka MERZBOW, who re-worked photogrraphs of a Turkey; on the vinyl two tracks of "unidentifiable metallic clanging, crushing feedback, jagged white noise, and various effects...There are no drums, no guitars, no vocals; just scorching electronic mayhem of the highest quality..." lim. 270 copies	2016	€20.00
AKIYAMA, TETUZI & MICHEL HENRITZI	Broken Blues	LP	re-issue of recordings from 2007 (Osaka) (so far only on a very limited CDR), a most experimental and concrete guitar-noise duet... "Putting drills, hammers, nails, screws and saws into good use, and with maximum amplification, the two artists manage to bridge the distance between the freely atonal sketches of post-Derek Bailey guitar music and the Fluxus tradition of more overtly disruptive actions." ed, of 192 hand-stamped copies	2018	€17.00
ALIO DIE / NICK PARKIN	Aquam Metallicam	CD	Collaboration between the two italian deep ambient artists, using lots of “real” instruments (percussion, shells rattles, bowed psaltery) to create their emotional touching dreamscapes... using more concrete materials, this sounds stranger & more alien than other works..	2001	€13.50
ALIZADEH, SABA	I may never see you again	LP	after the tremendous success of his debut LP on KarlRecords this 2nd album by the Kamancheh (an ancient Persian violin) master is released by a new Hamburg-based label dedicated to Iranian artists: "Influenced by Iranian harmonics, musique concrète and sophisticated, forward-looking beat science, Saba Alizadeh's "I May Never See You Again" represent an incredibly exciting act of mutual inspiration - when Iranian scales and Western electroacoustic understanding powerfully unite."	2021	€24.50
AMBARCHI, OREN	MMXX-16: Viscount Gort	LP	16th release in the series that presents 20 artists from the experimental sound-art scene with very nice design / concept => one-sided clear vinyl with laser engraved artwork by the artist on the B-Side, lim. 500 copies => OREN AMBARCHI's contribution is based on slow piano chords that are more and more accompanied by little electronic sounds and field recordings of goats and their bells..	2021	€23.00
ANEMONE TUBE / JARL & MONOCUBE	The Hunters in the Snow	CD	subtitled "A Contemplation on PIETER BRUEGEL's Series of the Seasons", this is stunning experimental ambient work that was five years in the works, with 5 pieces feat. various collaborations of the three involved artists... "an all-encompassing work of art from every perspective - exploring the seasons paintings through poetry, literature and sound.... it is where we connect with the core of our humanness and touch upon our own spirituality." lim. 333 special embossed paper digipak w. booklet	2019	€14.00
ANTLERS MULM	Of Withered Sparks	LP	"Our hopes, our flesh, our tears... are draped like dead birds in the skies".. - Different from most other LOKI-artists, ANTLERS MULM appears to be much more song-oriented, doing a kind of dark electronic pop-music, but very refined, minimal, deeply melancholic & quiet. Reminds us a bit on TWICE A MAN or TOR LUNDVALL at times, but with a much darker singing.. - vinyl-version lim. 222 copies, with 16p booklet	2008	€20.00
ASHER, MEIRA & URI FROST / TZII	Undo / Yalniz	LP	intense apocalyptic ritual music from these Israeli sound artists, activists and musicians, MEIRA ASHER and URI FROST on one side of this split LP, MEIRA is reciting a poem named UNDO by JEREMY AVIS with her incredible deep voice over doom laden industrial sounds... TZII on the split side sounds different, more collageous and digitally processed, fragmented and morphed sounds all around ("a funeral oration to love.."- great LP, lim. 300, elaborated silk-screen cover !!	2022	€20.00
ASHTORETH & STRATOSPHERE	Between Worlds	CD	two Belgian (dark) ambient artists in a very fruitful collaboration, extremely ethereal and super slow driftings with occasional tones and harmonies appearing like ghosts.. - "A blurred movement on the edge of our peripheral vision... Sensed but never grasped, felt but never seen. A passing between two worlds." - nicei digipak design, lim. 200 copies	2020	€13.00
ATRAX MORGUE & CONTAGIOUS ORGASM	Forced Entry / N.C.W	CD	originally released as a tape in 1996 on SSSM (the Japanese label of HIROSHI HASHIMOTO aka C.O.), this re-edition comes with two long bonus tracks of both artists from the "Rift Laboratory" cassette compilation (1994), (the A.M. track is entitled "Miss Rosie's Favourite Penis Torture" - [sic]), which you can find anywhere else.. lim. 400 copies	2017	€13.00
AUN	VII	CD	new album by Drone Records artists AUN, on the prolific IMPORTANT RECORDS !!	2010	€14.00
B°TONG / EMERGE / IF BWANA / GERALD FIEBIG	Thing	CD-R	starting release in the new series named "THING", based on the concept of physicality and the "meeting-place" for artists - this collects the two deleted split LPs by B'TONG & EMERGE, as well as IF BWANA and G. FIEBIG - morphing & moving dronescapes from B*TONG, more slow & contemplative, eerie metallic rumblings by EMERGE; refined & almost elegant drone compositions by FIEBIG IF BWANA.. lim. 100	2022	€8.00
BAD SECTOR / SSHE RETINA STIMULANTS	Neurotransmitter Actions	CD	re-issue of this album from 2000 (released as lim. CDR) with four pieces by BAD SECTOR, one long collab.-track by both artists, and 5 tracks by SSHE RETINA STIMULANTS => pure electronic, vivisecting ambient industrial with piercing tones, clinical voices and a harmonic analogue drone / sequencer basis, and oscillating frequencies occuring in compelling loops & patterns.... comes in nice cardboard box with bronce embossing	2014	€13.00
BAKER, AIDAN	Triptychs: Variations on a Melody	CD	new album influenced by ERIK SATIE'S 'furniture music' concept, using simple melodic lines as basis which are repeated and slowly develope & enlarged, performed by various invited artists such as PETER BRODERICK, JULIA KENT, LEAH BUCKAREFF (NADJA), AKI YAKAMOTO (VAMPILLIA) and others..	2014	€15.00
BAKER, AIDAN & THE INFANT CYCLE	Rural Sprawl	CD-R	what can there be better than a collaboration between two Canadian Drone Records-artists??? lim. 250, professional full colour cover; has two tracks from the long deleted "Rural" CDR (Blade Records 2001), plus two new tracks	2008	€8.00
BECUZZI, GIANLUCA & LUIGI TURRA	In Winter	CD	collaboration between the two rising Italian ambient/experimental artists => creating sparsely instrumented ambience (field recordings, piano, acoustic guitar), super melancholic, lonely & silent, expressing a deep winter atmosphere in an impressive way...	2012	€12.00
BERNOCCHI, ERNALDO & MERZBOW	Patterns and Mechanisms	CD	Bernocchi and Merzbow's first album together, written + recorded during the lockdown. Both artists* exchanged audio files and ideas fascinated by the phenomenon of urban wildlife where wild animals decide to relocate, or establish home in our cities, the album is just two long pieces. Despite being dense and noisy, "Patterns and Mechanisms" has a 'melodic' approach to composition, with Merzbow's noise assault conjugating with Bernocchi's music...* - ed. of 300 copies, oversized cover	2022	€13.00
BLACK SUN PRODUCTIONS	Astral Walk	CD	first real album by the Swiss duo and COIL-collaborators, very electronic, sludgy, hypnotic, trancy & creepy industrial-grooves! Musick originally created as a soundtrack for the performance of Plastic Spider Thing Part XXII. Performed by legendary COIL collaborators and performance artists* Massimo & Pierce*	2004	€10.00
BLOCK, OLIVIA & KYLE BRUCKMANN	Teem	CD	first full collab-album by these two experimental / impro artists from the US; uniquely styled soundscapes based on field recordings and instrumental sources	2010	€12.00
BLUE SABBATH BLACK CHEER + IRR.APP.(EXT.) + NEW BLOCKADERS	DDTTNBX	CD	this album holds two long collaborations between the three prolific experimental / noise artists, a re-issue of a rare BSBC 12" using TNB material (Anarchymoon 2009), a IRR.APP.(EXT) solo track, and one track by a UNKNOWN ARTIST... "a great job of melding each projects perspective and you can hear the shift in dominant viewpoints throughout the tracks without the loss of any one personality." lim. 500	2016	€10.00
BLUMM, F.S. / ANSGAR WILKEN	Live @ ZwitschermaschinE	7inch	two long standing artists from Berlin's experimental / improvisational / sound art underground fill this 7" with recordings from a live event during an installation at "Projektraum Zwitschermaschine" in 2019 => small object and instrument sounds, bells, percussion, almost completely genre-free;) ... lim. 150 copies in handmade and unique (each one different) die-cut cover	2020	€10.00
BODIN, LARS-GUNNAR / BENGT EMIL JOHNSON	Semikolon	LP	re-issue of both artists debut-LP from 1966 with recordings made 1965 at EMS (Elektron Music Studio) for Sveriges Radio; highly experimental collages using sound poetry & electronic sounds, at that time a pioneering work that didn't fit in any category (which later was named 'text-sound-composition')! This new ed. icludes one previously unreleased bonus-track from the same time ! lim. 500	2013	€18.00
BRODERICK, PETER & GABRIEL SALOMAN	same	LP	collaboration by these two artists known from EFTERKLANG and YELLOW SWANS - basic source material recorded together was later shaped into 5 pieces:' Broderick’s side brings together elements of modern compostion, electronic music, dub and vocal-oriented songwriting, while Saloman’s side is an epic 18-minute journey that builds into a gorgeous crescendo before gliding away on plaintive cries of a violin'; lim. 350 copies on black vinyl	2015	€19.50
CASAS, CARLOS	MMXX-19: 1883 (Sound Model I)	LP	19th release in the new series that presents 20 artists from the experimental sound-art scene with very nice design / concept => dedicated to the year 2020 there will be 20 x 20 min. compositions on one-sided clear vinyl, with laser engraved artwork by the artist on the B-Side, lim. to 500 copies => CARLOS CASAS (Barcelona) is a new name for us, he worked out a phantastic "trance / transcension" piece based on field recordings made in Indonesia and Philippines..	2021	€23.00
CASTRUP, HANS / STEFFAN DE TURCK / BOBAN RISTEVSKI / GRODOCK	Thing	CD-R	3rd release in a new series named "THING", based on the concept of physicality and the "meeting-place" for artists like in good old Germanic times ;) => THING will always feature 4 artists: HANS CASTRUP (ex POISON DWARFS) has created a nice & complex atmospheric collage, STEFFAN DE TURCK explores the physicality of sounds and field rec's, BOBAN RISTEVSKI philosophizes with vintage sounding strange electronics (great piece!), and GRODOCK deepdrones the earth... - lim. 100	2022	€8.00
CINDYTALK / ROBERT HAMPSON	Five Mountains of Fire	10inch	amazing split EP by two legendary UK underground artists! lim. 500	2010	€12.50
CONTROL	World of Lies	CD	the second CONTROL album for the Finnish Freak Animal label appeared in 2006, a dark and structured doom noise and power electronics aussault, full of agony... - "45 minutes playingtime contains heavy death-industrial / modern power electronics what you can't confuse to works of other artists. " - digipack re-issue	2022	€13.00
CORDIER, ERIC & JEAN-LUC GUIONNET	Synapses	CD	the French musicians and sound artists "play" this hanging installation, consisting of diverse string and percussion instruments plus metal resonators - all interconnected with diverse strings - when one string is touched the resulting sound is transfered to the next resonater, so one actions causes several acoustic events.. - recorded in Paris 1996/1998, reminds of NOISE-MAKER'S FIFES, ORGANUM, MORPHOGENESIS, etc..- comes with fold out / full colour inlay - mix: ERIC LA CASA ; BACK IN STOCK!	1999	€13.00
CORRAL SHUT / RESIDUAL / TYHJÄ PÄÄ / HAUDAT	same	CD	"Magnetic Tape Lullaby": four projects from the new wave of Finnish (harsh) noise artists on one CD, on the amazing label SATATUHATTA, known as a platform for non-standard, more handmade and object-based compositions, or unusual noise sounds.. - On top of everything, on this split they've found a common thread to make this release feel like a proper album, a rarely achieved feat with splits or compilations..	2023	€12.50
CRETA	Creta	LP	a new ambient/experimental trio from Italy around MASSIMO PUPILLO (ZU), creating somehow improvised spheric dense drones and slow electronic pulses with acoustic guitar melodies...."As Creta, they create outlandish sonic pieces that blend sci-fi ambient atmospheres with dark bass pulses and bucolic-Mediterranean string instruments -- a unique and yet coherent mix of elements that adds consequently to the oeuvres of the three artists." 180 gr. vinyl, insert, download code	2018	€18.00
DAS SYNTHETISCHE MISCHGEWEBE / TBC	split	CD	strong split album by these two long active noise-culture artists; incl. a 40 minutes long piece by DSM - demanding Geräuschmusik, weird object-sounds and excellent noise-collages! Nice translucent DVD-box design, lim. 300	2010	€12.00
DAUBY, YANNICK & HITOSHI KOJO	La Vie dans les Airs & dans les Eaux (SOLD OUT)	10inch	two pieces based on environmental, concrete & instrumental sources recorded in various parts of the world between 2006-2013, we present the first ever collaboration release of these two cosmopolitan sound artists from France and Japan: mysterious (micro)-sounds that could come from minerals, stones, plants, or daily objects and instruments - opening up two soundscaping tracks full of wondrous elements, combining the 'concrete' with the sublime and the atmospheric.... lim. 300, cover artwork by ANDREW CHALK	2017	€15.00
DERGARABEDIAN, CHRISTIAN (C.D.) y MILAN SANDBLEISTIFT	Lamentamos informar al Universo	CD-R	very nice collaboration of these two Drone Records artists from Germany & Spain (aka LICHT-UNG and EARZUMBA), recorded 2006 & 2007 they spread on 9 tracks a kind of obscure 'ether noise ambient' using electronic sounds as well as strange field recordings, found sounds and drone rumblings in polymorph ways, arrays of highly effected stuff...quite rough but beautiful, recommended! lim. 2nd ed. of 28 copies, we have the last three copies in stock !!	2007	€9.00
DEUTSCH NEPAL	Dystopian Partycollection III	CD	third collection of "orphan tracks, re-recordings, alternative versions and remixes made by Lina Baby Doll alone or in co-operation with other artists", like: JANITOR, VARUNNA, ROGER KARMANIK, THOMAS EKELUND (TREPANERINGSRITUALEN).. " the best soundtrack for dystopian times! Open up a bottle and swing to the sound! " [Markusbee] - and the cover artwork is unbeatable !	2021	€15.00
DIEVA, DAINA	KAS	CD	finally in stock, this "emo-drone" gem by the Lithuanian sound artist and performer (closely linked to Drone Rec artists SKELDOS) => her creations are of a great suspended and ethereal melancholy, three extremely subtle and amorph dronescapes, slowly waving and filled with her beautiful chanting and voice at times.. "This haunting, psychedelic dream is filled with a sacral atmosphere, leaving its brief flashes of light to very gradually transform into a ripening darkness." [Heathen Harvest]	2016	€12.00
DIMUZIO, THOMAS	Balance (Duos, Trios, Combos)	3 x CD	extensive, amazing collection of DIMUZIO live collabs! => "49 Artists, 28 shows, 10 years - Thomas Dimuzio and friends deliver a stunning live anthology of noise, dark ambient, textural, experimental, and electro-acoustic music in distinct duo, trio, and combo configurations. Exquisite excerpts combine the sublime synergy of live spontaneous music with the visceral energy of the stage across this colossal and compelling collection." feat. i.e. ILLUSION OF SAFETY, ARCANE DEVICE, BOB BELLERUE, A. COURTIS,..	2020	€22.00
DINEL, KARBE	MMXX-09: Ouroboros	LP	9th release in the new series that presents 20 artists from the experimental sound-art scene with very nice design / concept => dedicated to the year 2020 there will be 20 x 20 min. compositions on one-sided clear vinyl, with laser engraved artwork by the artist on the B-Side, lim. to 500 copies => KARBEL DINEL is a sound artist from Belgium, his sublime piece drones through all kinds of overtones and resonances, but also incorporates more concrete sounds, dense & slow & otherwordly...	2020	€23.00
DONIS	Без Гражданства (No Citizenship)	LP	the long existing Lithuanian dark folk & ambient project with a Russian titled LP, inspired by the post 2nd WW fate of the artists grandfather; "the record is done using only acoustic instruments and ambient sounds of the authentic grandfather's life places: the remaining houses, attics with old craftsman’s tools, native whistling winds of Zindaiciai and chirping birds, church, yellow rusted documents and photographs, squeaky steps in Jurbarkas’ town cemetery... lim. 150, white vinyl	2016	€23.00
DOYLE, ROGER	Thalia	do-LP	ROGER DOYLE from Ireland was one of those 'outsider artists' being on the legendary NURSE WITH WOUND list in 1978, and this album appeared in the same year but was withdrawn by 'CBS Classics' almost immediately after the release..." Now finally available on its intended format, the keening, breezy logic and abstract dramaturgy of Doyle’s work on ‘Thalia’ has been reshuffled to highlight its apparent surreality and frolicking apparitions.." - FIRST TIME VINYL RE-ISSUE !!	2019	€25.00
DREAM WEAPON RITUAL	The Uncanny little Sparrows	CD	one of our favourite Italian experimental units (S. BALESTRAZZI and MONICA SERRA) is back with a strange "story" about a group of eerie sparrows, their free-form electro-pulsing drone is marked with expressive voice and birdcall material, folk instrumental sounds and strange effects, always tension filled and just on the border to explode; the cover & 8 page full-colour booklet show the artists with bird-masks - an excellent, surrealistic release all around again !!	2018	€16.50
DREIER, CHRIS & ANSGAR WILKEN	E Ora Di Farlo	LP	stunning collaboration by these two sound artists from the Berlin underworld, opening acoustic rooms for multiple (sound + voices) happenngs.. - modular synth, various percussion tools, tapes + samples... " If surrealism was defined as the meeting of an umbrella and a sewing-machine on a dissecting-table, then this album is quite literally surrealism in sound." - lim. 300 copies and very much worth to explore	2026	€20.00
DUBACH, PETRA & MARIO VAN HORRIK	Church WAVES	LP	raw metallic pulse and wave drones created through a very special installation in a church => the dutch performance artists use small loudspeakers and piezos attached to long strings (50 metres during this installation in Eindhoven!) and catch the created feedback and vibrations, also through the moving body of PETRA DUBACH.. - comes with DVD that shows in detail the building and set up, and a video recording of the experiments and performing in the church.. . lim. 200	2019	€25.00
DUNCAN, JOHN	MMXX-02: Panic @ 11000 Feet	LP	2nd release in the new MMXX series that presents 20 artists from the experimental sound-art scene with very nice design / concept => dedicated to the year 2020 there will be 20 x 20 min. compositions on one-sided clear vinyl, with laser engraved artwork by the artist on the B-Side, lim. to 500 copies => JOHN DUNCAN returns to experimental soundscapes based on shortwave frequencies and mysterious sonics, going through various stages...	2020	€24.00
EMERGE	Steps	CD	field recordings from the Dachau Concentration Camp memorial site, the steps and voices of people, the environment, eerie rumblings and object sounds of the sites and buildings (following the believe that you can't do "music" about the holocaust)... + processed on one track in a characteristic way by diverse international sound artists, such as FREIBAND, B*TONG, SATORI, etc.. - a very ambitious project, creating a unique contextual atmosphere!	2020	€13.00
EMERGE + GERALD FIEBIG	Flöten / Kinder	CD-R	curious pieces created from children's flute playing and other sounds they made (laughing, speech, chuckles...) recorded during a workshop at an elementary school in Augsburg, Germany: a 'pure' collage by FIEBIG, a voice/noise piece by EMERGE considering also the oral material, plus a collaborative drone piece by both artists, who are also behind this great label !!! Lim. 33 copies, special cardboard cover	2015	€8.00
ENGLISH, LAWRENCE & WERNER DAFELDECKER	Shadow of the Monolith	LP	first collaboration by these two sound-artists from Australia & Austria, working on "atmospheric, hydrophonic and ionospheric" source materials, resulting in mesmerizing microsound ambience..."a record that drifts from dense microscopic cracks to vibrant shifting frequencies, from sections of profound white stillness to storms of intense activity, from intense light to improbable dark and from immersive macro-spaces to non-spaces" ; lim. 300 on a new Greek label	2015	€17.50
ESCALLON + ISAZA	Nubes	mCD-R	two Colombian sound artists in first-time collaboration, MIGUEL ISAZA is know from various releases on many international labels already... together they created a very subtle sounding experimental drone one-tracker (21+ min.), merging field recordings, digital / electronic sounds and sub-bass atmospherics...	2018	€5.00
ESPLENDOR GEOMETRICO	Tarikat	do-LP	first ever vinyl re-issue of this rare DAFT Records album from 1997, the tracks were already recorded 1986-1989... ~16 tracks, remastered for this release, that show E.G.'s unique sound in the eighties close to other albums as Arispejal Astisaró, Nador, or Sheikh Aljama. This is a period especially appreciated by E.G. fans, where they developed their original and unique style that influenced many later groups and artists of industrial music and even certain forms of techno.~ 400 copies black vinyl	2025	€32.50
FEAR DROP	No. 16: LA ZONE GRISE	mag & CD	finally a new FEAR DROP (best french mag for ambient & experimental music) issue, on the theme "GREY AREA"; feat. two long essays by publisher DENIS BOYER, plus articles about COILs ANS-work, HUMAN GREED; STEVE RODEN, BERNHARD GÜNTER, and the very first interview / article about our 10" series SUBSTANTIA INNOMINATA! + compilation CD with mentioned artists and CISFINITUM, TROUM, YANNICK FRANCK, L. MARCHETTI, M. DELPLANQUE, etc.. a definite MUST HAVE, highly recommended!!! Exclusive material only !	2012	€12.00
FEAR FALLS BURNING	Once we all walk through solid objects	5 x LP-SET	source material by FFB performed by 10 artists (one per LP-side): BASS COMMUNION, FINAL (Justin Broadrick / JESU), FREIBAND, HARVESTMAN (Steve von Till / NEUROSIS), BIRCHVILLE CAT MOTEL, BYLA, AIDAN BAKER, JOHANNES PERSSON, JEFRE CANTU-LEDESMA (of TARENTEL), STEFANO PILIA. Lim. 500, pressed on clear 180gr vinyl. LAST COPY, MINT !	2007	€62.00
FESHAREKI, SHIVA	MMXX-20: Nebula	LP	20th and final release in the new series that presents 20 artists from the experimental sound-art scene with very nice design / concept => dedicated to the year 2020 there will be 20 x 20 min. compositions on one-sided clear vinyl, with laser engraved artwork by the artist on the B-Side, lim. to 500 copies => SHIVA FESHAREKI is a British-Iranian sound artist and turntablist with a Doctorate in Music Composition - "Nebula" confronts us with strange loops and voice experiments in a spacey background...	2021	€23.00
FM EINHEIT	EXHIBITION OF A DREAM	do-CD	Dream interpretations of 12 artists who tell their dream "fiction" lead by their Unconscious, with accompanying sounds of FM EINHEIT and "band": GENESIS P.ORRIDGE (longest track), LEE RANALDO (SONIC YOUTH), film-maker APICHATPONG WEERESETHAKUL, SUSAN STENGER, etc. - very nice concept / idea with surprising results [ the whole is a re-issue of a rare 3 LP " L'exposition D'un Rêve" from 2018 ]	2021	€16.00
FROMBERG, DANIELA & STEFAN ROIGK	Unfamiliar Home	LP	this rising (sound) artists couple from Berlin with a curious project=> the house they live in got renovated completely (for several years), they recorded 400 hours of material from these noises and mixed a 12-channel installation from it: "Tremors, hollow scratching, resonating gas-heaters, droning jackhammers, crumbling ceiling plaster, wind, chimney sweeping, blow torches, rustling plastic cover, elevator buzzing, dismantling of the scaffolding." - phantastic sounds & artwork, 3 art inserts, lim. 200	2022	€25.00
GAPIK, CEZARY	Contrast I	LP	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	2011	€20.00
GILLIS, ANNE / JAC BERROCAL / VINCENT EPPLAY / TIMO VAN LUIJK	Si()six	LP	new studio recordings by these four true avant- impro & drone artists from Belgium and France in interaction, subtle jazz elements and narrations merge with weird instrumenations and noises... - a collage of dreamy musique concrète with desolate instrumental and vocal interventions, masterfully balanced out by Vincent Epplay. - comes with inlay, 500 copies pressed, cover design by MEEUW, mastering STEFAN MATHIEU	2024	€23.50
GUILLET, MICHEL	Behind nothing	CD	refined noise-compositions by this french (?) visual artists and musician, very dynamic & with lots of details & cut-ups, to discover	2011	€13.00
GUIONNET, JEAN-LUC & MIGUEL A. GARCIA	Siticidelhous	CD	both sound-artists met 2016 in a conservatory in Spain where they could experiment with church organ and electronics => two long pieces that play with your perception and attention emerged - sounds seem to disappear completely in silence, but if you increase the volume you listen to completely new elements, a new soundworld arises.. lim. 200	2018	€12.00
HAKOBUNE	Vitex Negundo - de constructed	CD	remixes of HAKOBUNEs last years 'classic ambient' album by Japanese IDM, electronic & experimental artists, lots of new names to discover, very good material for example by: DJ NOBU, TIASHIN, KOBA, KATSUNORI SAWA... 10 tracks	2015	€8.00
HAMILTON, SAM & JAN ANDERZEN	Brombron 24: Time Banking	CD	collaboration of these two artists (ANDERZEN is the main man from KEMIALLISET YSTÄVÄT) from Finland & New Zealand, who like all others in the BROMBRON series met for some days in a small studio in Nijmegen, NL => creating a weirder kind of relaxed electronica & 'wicked pop tunes'.. if you're looking for something new / unusual / exciting - the Brombron series is alwys a good place to start !! lim. 300 special cover	2013	€10.00
HIGASHI, YOKO & LIONEL MARCHETTI	Okura 73°N-42°E	CD	first time listing for this overlooked album, a split and collaboration album by LIONEL MARCHETTI with Japanese performer, dancer and vocalist YOKO HIGASHI: "Petrole 73" (2005) by Marchetti, "Okura" (2007) by Higashi, and "Petrole 42" (2006) by both artists together => original recordings from the MS STUBNITZ ship, from Mozambique, the voice of Higashi, electronics etc. form strong and unique pieces of musique concrete with a special atmospheric aura... still very much to discover !!	2009	€13.00
HUMAN QUENA ORCHESTRA	A natural History of Failure	CD	third album feat. contributions from diverse artists like JASON ZEH, BRANDON NICKELL (AEMAE), DAVID GRAHAM (REQUIEM), etc..	2010	€13.00
	Natural History of Failure	LP	vinyl version of the third album by the amazing "apocalyptic industrial metal/doom/drone" band from Pittsburgh, feat. contributions from diverse artists like JASON ZEH, BRANDON NICKELL (AEMAE), DAVID GRAHAM (REQUIEM), etc.. lim. 250 only, genius cover-artwork.. BLACK vniyl	2011	€20.00
HURTADO, MARC & Z'EV	Sang	CD	one of the ETANT DONNES brothers in collab with Z\'EV, forming an almost perfect amalgamation of what both artists are known for, and it really works in an enchanting way - the emotional voice & whispers of French poems about love, nature & transformation, the passion, the alchemistic metallic overtune-drones and drumming... surreal, intense, fathomless.. fold out paper cover, contains CD and 36 page full colour booklet	2015	€13.00
IELASI, GIUSEPPE	MMXX-10: Untitled	LP	10th release in the new series that presents 20 artists from the experimental sound-art scene with very nice design / concept => dedicated to the year 2020 there will be 20 x 20 min. compositions on one-sided clear vinyl, with laser engraved artwork by the artist on the B-Side, lim. to 500 copies => Italy's prolific composer GIUSEPPE IEALASI formed a piece with many microscopic / delicate sounds and noises (of probably instrumental sources), building weird and beautiful patterns and moments...	2020	€23.00
INFANT CYCLE / DRONAEMENT	split	CD-R	rare split release (lim. 100) of these two Drone Records (DR-41 and -95) artists from Germany & Canada - over 30 min. of material from INFANT CYCLE creating strong atmospheric industrial drone-tunes with a mechanical / rhytmic edge, whereas DRONAMENT mesmerizes with the mixture of subtle field recordings and sublime melodies, slowly oozing into your unconscious... not to be missed ! Comes in a handmade (coloured) wallpaper sleeve	2008	€9.00
INFANT CYCLE & RAMUNAS YARAS / DELPHIUM	Translation / Heart full of Soul	do-mCDR	last copies back in stock of this very nicely packed (4 x 8" gatefold cover, full colour) split release of two Drone Records artists from Canada & England - hypnotic, quasi-rhythmic experimental drones at its best! Lim. 100 - LAST COPY	2007	€10.00
INOX KAPELL	Werkschoh	do-LP	a great homage to INSECTS, this collection of works (1982-2011) by the unique "insect in a human body" performance artist & entomologist from Berlin, feat. diverse collaborations with other artists, all based around insect-worlds; bizarre, fanciful, lovely dadaistic experimental electronics & lyrics ! lim. 400 gatefold cover with poster	2012	€23.00
INSIDE ARTZINE	# 11	mag	"maximum artscum"; german A4 underground magazine for extreme & dark art, feat. international artists doing surrealistic, esoteric, horrifying & misantrophic paintings, collages, sculptures & drawings, along with short stories & poetry; FULL COLOUR, around 40 pages, written mainly in english, HIGHLY RECOMMENDED	2006	€5.50
	# 12	mag	maximum artscum"; german A4 underground magazine for extreme & dark art, feat. international artists doing surrealistic, esoteric, horrifying & misantrophic paintings, collages, sculptures & drawings, along with short stories & poetry; FULL COLOUR, around 40 pages, written mainly in english, HIGHLY RECOMMENDED	2008	€7.00
	# 13	mag	maximum artscum"; german A4 underground magazine for extreme & dark art, feat. international artists doing surrealistic, esoteric, horrifying & misantrophic paintings, collages, sculptures & drawings, along with short stories & poetry; FULL COLOUR, around 40 pages, written mainly in english, HIGHLY RECOMMENDED	2009	€7.00
IRMERT, JANA / 7038634357	Portals / Rope	LP	again two fresh artists on PORTRAITS GRM: JANA IRMERT produced a stunning 36 channel piece based on Amazon rainforest sounds ("exploration of an unsuspected, speculative and non-human world of sound"), strangely named artist "7038634357" created a work about the "formal figure of the ROPE : Rope unfolds slowly, evolving from the threshold of the perceptible towards denser, more ballasted electronic textures, but always on the brink of an upheaval to come.." - 500 copies	2025	€24.00
JOBIN, FRANCE & FABIO PERLETTA	Mirror Neurons	CD	beautiful Canadian-Italian collaboration work of elegantly woven pulses and drones, for us it sounds like a combination of the 'essence' of ELIANE RADIGUE and ASMUS TIETCHENS, transported to even more subtle realms...."Like much of Jobin and Perletta’s recent works, Mirror Neurons explores the artists’ interest in intersection between science and art, as well as the infinitely small and invisible." ed. of 500 copies	2015	€13.00
JOHANNSSON, JOHANN	Englabörn & Variations	do-LP	ENGLABÖRN (2002) was the first album by the great Icelandic composer who sadly died in Feb.2018; this re-mastered vinyl re-issue has a full bonus LP with reworkings and different versions of his tracks by various well known artists as HILDUR GUDNADOTTIR, A WINGED VICTORY FOR THE SULLEN, RYUICHI SAKAMOTO, etc. and JOHANNSSONs own variations.. .. gatefold cover, translucent banderole, download code, 180gr. pressing	2018	€32.00
JUPITTER-LARSEN, G.X. & ALLAN ZANE	Banjax (artist's edition)	CD	lim. artist's edition of 100. CD housed in silk-screened draw-string bag, signed and numbered print by both artists. LAST COPY	2005	€24.00
KASSEL JAEGER	MMXX-13: Vol Sombre	LP	13th release in the new series that presents 20 artists from the experimental sound-art scene with very nice design / concept => dedicated to the year 2020 there will be 20 x 20 min. compositions on one-sided clear vinyl, with laser engraved artwork by the artist on the B-Side, lim. to 500 copies => Drone Records fave artist KASSEL JAEGER unfurls slowly pacing instrumental drones / drops, circuiting each other like in a timeless slow-motion dance, harmonic and dense..	2020	€23.00
KELLER, ALEX & SEAN O'NEILL	Kruos	LP	recommended debut release of these U.S. sound artists, who use field recordings and vintage electronic devices for their performances and installations... "It is difficult and challenging at times, and there is not much to grab on to as far as conventional rhythm or melody, but it excels in abstraction. In many cases the result is far removed from the source material, but the environment the two create on here is just as fascinating as any natural one that could be captured." [Creaig Dunton/Brainwashed]	2017	€20.00
KG AUGENSTERN	Tentacles	BOOK & CD	recordings from "under the bridges" during a trip on a ship that travelled from Berlin to southern France, the bridges were touched with tentacles to reveal their personal soundprofile... the artists group KG AUGENSTERN created this mixture between a permanent sound installation (tentacles) and field recording journey, plus two sound exhibitions, nicely documented in a 42p. page book with photos, maps and travel notes: Berlin-> Nijmegen-> Paris-> Lyon-> Monpellier	2016	€15.00
KOJO, HITOSHI / TOY BIZARRE	Japan Vol. I	mCD-R	remixes of field recordings made in Japan by Drone Records artists HITOSHI KOJO (SPIRACLE) & TOY BIZARRE ! Lim / numb. 100	2011	€8.50
KOUW, MATTHIJS & GAGI PETROVIC	Recalcitrance	do-CD	two promising Dutch drone / minimal / experimental artists on this split double album, inspired by philosopher ISABELLE STENGERS and her concept of "Recalcitrance", and starting from the same source sounds: "Anything that resists subsumption to technical rationality is seen as a threat to public order....Recalcitrant subjects ask new questions, thereby allowing the currently dominant reductionist mindset obsessed with productivity to be unsettled by space for reflection and quiet contemplation." lim. 200	2021	€15.50
KRCFHL	same	do-CD	this short lived project named KRCFHL is a special delicacy for the connaisseur of the Russian drone ambient & experimental electronic scene: CISFINITUM, HLADNA and KRYPTOGEN RUNDFUNK recorded a floating, expanding studio set together in Moscow Sept. 2005, using various electronic devices and synths plus violin; the second CD collects remixes of the "next generation of artists": NOTUM, BEZVLASTJE (she's also in DRONE LIBERATION FRONT), SVETLO111, and SYMPHOCAT; lim. 200	2022	€16.00
KREJCI, MARTIN / SEBASTIAN GIUSSANI / KEIKO UENISHI	Counting Sheep won't cause you to encounter a Dream of a stray Dog (or will it?)	CD-R	digital drone / laptop collaboration by these three audio (& visual) artists recorded live in June 2011, resulting into nice organic ambience... "a dense, yet transparent trip from monochrome lowercase static through lusciously harmonic territory into near-cosmic seas of drone" ... comes in folded cardboard sleeve, lim. 50 copies	2014	€8.00
KUHZUNFT / ACHIM ZEPEZAUER	Slotmachine	10inch	documentation with 30 tracks (all 45 sec. length) of a lovely sound art project: an acoustic "Online-Slotmachine" filled with the pre-recorded sounds of 13 artists (such as JEROME NOETINGER, JAAP BLONK, RHODRI DAVIES, SIMON WHETHAM, etc.) who produced 158 recordings, when you play the Slotmachine 3 recordings are randomly put together = the outcome of 3.944.312 different tracks is possible! - all tracks on this 10" sound completely different, and unexpected! Go to: slotmachine.kuhzunft.com to play it	2019	€10.00
LA CASA, ERIC & CEDRIC PEYRONNET	La Creuse	CD	a super fascinating 'pure sound' journey based on mysterious field recordings, 'concrete' & droney at the same time; both artists mixing each others material; highly recommended !!	2008	€13.50
LANZA, MAURO	MMXX-14: Fully Automated Luxury Communism	LP	14th release in the new series that presents 20 artists from the experimental sound-art scene with very nice design / concept => dedicated to the year 2020 there will be 20 x 20 min. compositions on one-sided clear vinyl, with laser engraved artwork by the artist on the B-Side, lim. to 500 copies => MAURO LANZA is a composer from Venice (IT), his eerie electro-acoustic drone piece is full of tension and crescending tones..	2020	€23.00
LINDHOLM, OTTO / JEAN D.L.	Apophenia	MC	first collaboration by these two GIZEH Records artists who met on a label night in Belgium (JEAN D.L. has already releases with JULIA KENT and RUTGER ZUYDERVELT / MACHINEFABRIEK), performing very dense, at times quite powerful & noisy 'experimental ambient drone' on double-bass and guitar, but there are also more quiet passages, full of tension and metallic resonances... lim. 50 printed cardboard cover	2021	€9.00
LINDWALL, HAMPUS	MMXX-15: Lost & Found	LP	15th release in the series that presents 20 artists from the experimental sound-art scene with very nice design / concept => one-sided clear vinyl with laser engraved artwork by the artist on the B-Side, lim. 500 copies => HAMPUS LINDWALL is a prof. organist from Paris in full electronic mode and virtuosic performed: echo-tones, sequences, patterns, in different shapes and shades..	2020	€23.00
LOPEZ, FRANCISCO / ZAN HOFFMAN	Concert for 300 Magnetic Tapes	MC	extractions from a crazy concert both gave in 1994, when they played 200 cassettes they got from artists from around the globe simultaneously; re-edited & re-master 2010, lim. 300 copies	2011	€10.00
LOPEZ, FRANCISCO & DANIEL MENCHE	Sacrificed Phloem (Zannec Line)	CD	For the first time both long active artists from the experimental / post industrial / field recording scene have collaborated, creating a mesmerizing one-tracker (56+ min.) with many breathtaking moments and passages from the very beginning... an incredible intense new sonic reality arises, full of surrealistic (almost psychoactive) drones capturing your whole body, taking you on a journey to the microworlds of the "more than human" lifeforms... a "Phloem" is the part of plants that transports organic compounds = photosynthates. Lim. 250 copies	2022	€13.00
LOPEZ, FRANCISCO & NOVI_SAD	Titans	CD	both artists used the same field recordings (made in the Ancient Olympia region of Greece) for two 30+ min. long compositions, presented for the first time during the International Olympia Festival in June 2010; very good experimental 'transcension drones' from two different artistic perspectives... lim. 500	2011	€13.00
LOPEZ, FRANCISCO & RICHARD FRANCIS	In de blaauwe hand	CD	release of these two Drone Records-artists in the Brombron series (studio collaborations happening in the Extrapool-studios in NIJMEGEN NL); special cover	2009	€13.00
LOPEZ, FRANCISO & MIGUEL A. GARCIA	Ekkert Nafn	CD	awesome collaboration by these two Spanish sound-artists working on each others source materials, resulting in two long tracks; => really striking is the pushing, pulsing power these pieces develop, but also the strange mechanical sounds that appear, along with completely unrecognizable sonic areas... ed. of 300 copies	2019	€13.00
LUSTER	Abandon	CD-R	project of C. REIDER with diverse guest-artists	2003	€8.00
MACHINEFABRIEK	Wendingen	CD	a collection of remixes MACHINEFABRIEK did with other artists material, between 2005-2015: GARETH HARDWICK, AMON TOBIN, AARON MARTIN, DIJVAN GASPARYAN, WOUTER VAN VELDHOVEN, and many more.. 79+ minutes, 13 tracks in total, some appeared only on very limited CDRs or tapes... lim. 300	2016	€12.00
MALONE, KALI & DREW MCDOWALL	Magnetism	LP	first collab. album by these two prestigious minimal/drone artists, recorded in Brooklyn in McDowall's studio in 2022 already, 5 tracks of electro-audiomagnetics emerged... - On Magnetism, Malone’s poignant and evocative melodies manifest through McDowall’s signature timbral synthesis, creating a unified voice that soars freely and radiates with vitality... - BLACK vinyl ed.	2025	€27.50
	Magnetism	CD	first collab album by these two prestigious minimal/drone artists, recorded in Brooklyn in McDowall's studio, 5 tracks fo electro-audiomagnetics emerged... - *On Magnetism, Malone’s poignant and evocative melodies manifest through McDowall’s signature timbral synthesis, creating a unified voice that soars freely and radiates with vitality... - CD version ~ 6 panel digisleeve + OBI strip	2025	€16.00
MAXIMIN, BERANGERE	MMXX-18: Komora	LP	18th release in the new series that presents 20 artists from the experimental sound-art scene with very nice design / concept: one-sided clear vinyl with laser engraved artwork by the artist on the B-Side, lim. to 500 copies => BERANGERE MAXIMINs "Komora" sounds very droning and abstract, with lots of flittering and vibrating sounds caving into the mix, somehow mechanical, somehow organic, but impossibe to be captured exactly... a extraordinary and beautiful composition !	2021	€23.00
MCDOUGALL, JAMES & HIROKI SASAJIMA	Injya	CD	four long tracks of subtle field recordings made in Japan & Australia and brought together to form transcendental drone-weavings by these two rising sound artists... eighth release in this strong series by MYSTERY SEA, dealing with "spirits of specific places"; lim. 200 handnumbered copies, beautiful artwork as usual by DANIEL CROKAERT	2011	€14.00
MEESE X HELL	Hab keine Angst, hab keine Angst, ich bin Deine Angst	do-LP	one of German's best known and most controversial artists (= "dictatorship of art"), JONATHAN MEESE as singer of catchy slogans in collaboration with Munich's DJ HELL, created during three experimental studio-sessions and based on minimal technoid beats, feat. BRIGITTE MEESE, the mother of JONATHAN (at the age of 91) on two tracks... "erfasst ganz hervorragend die derzeitige Stimmungslage von gefühlter Sinnlosigkeit bei grundsätzlicher Lebensbejahung." [Die Zeit]	2021	€25.00
	Hab keine Angst, hab keine Angst, ich bin Deine Angst (special edition)	do-LP & BOOK	one of German's best known and most controversial artists (= *dictatorship of art"), JONATHAN MEESE, here as a singer of catchy slogans in collaboration with Munich's DJ HELL, created during three experimental studio-sessions and based on minimal technoid beats, feat. BRIGITTE MEESE, the mother of JONATHAN (at the age of 91) on two tracks...- Special limited ed. with 24 pages hardcover art book + poster	2021	€40.00
MENCHE, DANIEL	MMXX-05: 4424	LP	5th release in the new MMXX series that presents 20 artists from the experimental sound-art scene with very nice design / concept => dedicated to the year 2020 there will be 20 x 20 min. compositions on one-sided clear vinyl, with laser engraved artwork by the artist on the B-Side, lim. to 500 copies => DANIEL MENCHE's piece is based on long sustained "Zither-like" tones and deep & slow percussion, morphing into other dimensions..	2020	€24.00
MERZBOW & Z'EV	Spiral Right / Spiral Left	CD	two of the longest active "underground experimental" artists in a mail-collaboration that was in the planning for almost 20 years - resulting in two long tracks of stunning dark "elemental" noise	2010	€13.00
MERZBOW + KAORU SATO	Kyoto Oct. 21 2018	LP	this documents the first ever collaboration performance of KAORU SATO (R.N.A.Organism, EP-4) and MERZBOW with a surprising, very dense and strange ambient sound (Side A), on Side B two solo pieces by both artists from the same evening, remixed in the studio afterwards... lim. 300 copies	2019	€22.00
MIZUTANI, KIYOSHI & KIYOHARU KUWAYAMA	Interlude	CD	collaboration by these two Japanese sound artists (long standing MIZUTANI was once a member of MERZBOW, KUWAYAMA is active as LETHE) - based on suspended, waving feedback sounds, which are influenced in many ways and create lots of interesting patterns, 'breaking' sounds and even harmonies... no harsh noise at all, but arrays of strangely resonating feedback bubbles going through space & mind.. "reminded me on the best of ARCANE DEVICE" [Frans de Waard]	2011	€12.00
MOLJEBKA PVLSE	With the Passing of Time	do-CD	the yearly "Homework" online compilation of TAALEM became an institution for online-listeners (always released at the end of the year), collecting new material by all artists that have ever appeared on the label, for a voluntary donation price! - This epic double CD collection holds material from 2016-2024 ( 9 tracks) and comprises everything adorable M.P. got known for, hypnotic, rich, dense multi-layers of breezy, pulsing, bubbling drones and "fields"... lim. 250 copies, 4 page booklet	2025	€16.00
MONTEIRO, ALFREDO COSTA & BEN OWEN	Frêle À Vide	CD-R	four untitled tracks of very 'brittle' minimal drones, first collaboration by the US / Spanish improvisers & soundartists = > "pure sonic matter without any harmonic or melodic consideration"', made out of walkman feedbacks, short wave radio, microphone... lim. 150 copies, six-panel cover printed utilizing archival pigment ink on strathmore paper	2011	€10.00
MONTGOMERY, GEN KEN	Postcards 1981-1986	do-LP	compilation of old cassette-only & live material by one of the heroes & truly experimental working sound-artists of the 80s/90s tape scene, who once had the legendary GENERATOR record shop & gallery in New York City; lim. 500 gatefold-cover	2012	€27.50
MORI, IKUE / MAJA S.K. RATKJE	Scrumptious Sabotage	CD	extreme improvisation music with fast changing high speed noise attacks and 'quietly growing tension' by these two gifted performers in collaboration, recorded at two live performances...The most astonishing element of this superb performance is the realization that even though the compositions are entirely intuitive, created without any previous planning, guidelines or negotations, the listener can sense a nearly palpable sense of deep connection and understanding between the artists** - digipak ed.	2013	€13.00
MUENNICH / ESPOSITO / JUPITTER-LARSEN	The Wraiths of Flying A	CD	MICHAEL ESPOSITOs "ghost" sounds (EVPs) received at the American film studios in Santa Barbara, CA, serve as basis for diverse single tracks and collaboration pieces by all three artists => intense musique concrete made out of hissing voices, crackles, rumbling sounds and drones.. lim. 300 only	2012	€13.00
MURRAY, BRENDAN / PERISPIRIT	split	LP	Long play split album of two U.S.-sound artists / projects: BRENDAN MURRAY works with the processed voice of NOELL DORSEY and creates spooky drones combined with dehumanized voice-sounds; PERISPIRIT move between noise collages & distorted guitar drones with excellence; a totally amazing, challenging, mysterious record, very much recommended ! Lim. 250 white vinyl, great cover artwork, too !	2010	€21.50
MUSLIMGAUZE	Single #One	7inch	two so far unreleased MG tracks, perfect for a late 7" ! - the first in a series of four (three 7"s and one 12") taken from one of BRYN JONES' customary completely unlabelled DATs he sent to labels seemingly as fast as he finished them. Both sides here indicate that, even on what might have been throwaway efforts for other artists, Jones was constantly chasing his muse around new corners. - lim. 300 copies BLACK vinyl, DL code	2025	€16.50
NEW BLOCKADERS / KOMMISSAR HJULER	ZERSCHLAGEN MUSIK / PUPPETMUSIKEN	LP	Collector's item - contains two side long tracks by both controversial artists, as far as we know all material is NEW and previously UNRELEASED!! Lim./numbered edition of 45 1/2 copies (one copy has been cut in halves) with laminated, handmade full colour cover in the Psych.KG FLUXUS+/- series	2018	€49.00
NIBLOCK, PHILL	MMXX-12: Browner	LP	12th release in the series that presents 20 artists from the exp. sound-art scene with very nice design / concept => dedicated to the year 2020 there will be 20 x 20 min. compositions on one-sided clear vinyl, with laser engraved artwork by the artist on the B-Side, lim. 500 copies => PHILL NIBLOCK presents a new piece that uses the instrumental drone sounds from 4 players / instruments: 2 x cello, flute, bassoon to create a rich, full-scaled and dense drone expansion with micro movements inside..	2020	€23.00
	Nurturing Exhibitions	BOOK + 2 x CD	full colour ART book (48 pages) about an exhibition in Tokyo by MATTHIEU COPELAND, accompanied by six NIBLOCK tracks, newly performed by various drone artists: DEBORAH WALKER (cello), TOEPLITZ / VIGROUS / BRESCHAND, STEPHEN O'MALLEY, DAVID MARANHA (OSSO EXOTICO), THE VOX HUMANA VOCAL CHOIR, ELISABETH SMALL (Viola).... lim. 200 copies COLLECTOR'S ITEM!!	2023	€48.00
NIGHT SCIENCE (MAGAZINE)	Vol. V	BOOK & CD	newest issue for this book-sized magazine (158 pages!) from Australia for Industrial, harsh noise and the darker sides of ambience & drone, has articles & interviews with/about: MLEHST (!), ANEMONE TUBE, NIELLERADE F., KAZUMA KUBOTA, the FRAGMENT FACTORY label,etc. + hundreds of reviews, live reports, + additional comp. CD with the same artists, lim. 500	2015	€16.00
NLC / EISENLAGER / OCCUPIED HEAD / WILFRIED HANRATH	Thing	CD-R	2nd release in the new series named "THING", based on the concept of physicality and the "meeting-place" for artists: long active French NOUVELLES LECTURES COSMOPOLITES (N.L.C.) for the first time on A.C, plus three German acts working in the experimental / spacious ambient field with different approaches, all pieces around 15 minutes, factory-produced CDr in cardboard sleeve, ltd.ed. 100 copies	2022	€8.00
NOISEGATE	Nr. 07	mag	60 pages A4-format, great theoretical articles on sound & noise, artists & reviews. includes: Duncan Marshalls, Kinds of Magic, Sounds Like Someones Enjoing Themselves, interactive sound installation, Philip Waterworth talks about his work which covers voyerism, eavesdropping, paranoia, surveillance and noise pollution, NGs Whispering gallery tour London-Paris-Rome-Sicily, & Second thoughts on the bassoon by Mick Beck. Article about TOD DOCKSTADER.	1999	€5.50
	Nr. 08	mag	60 pages A4-format, great theoretical articles on sound & noise, artists & reviews: "Analog is the new digital", Tinnitus, SCRATCH ORCHESTRA - history, on LUC FERRARI, Sound and the Cinema, spot on DRONE RECORDS, mother womb-acoustics, etc.. great issue, not to be missed !!!	2000	€5.50
	Nr. 09	mag	60 pages A4-format, great theoretical articles on sound & noise, artists & reviews: Low Classical Usic, Sound Sculpture & Electronic Music, Obscene Telephone Calls, Culture of Silence, SCRATCH ORCHESTRA - cont., Auditory Hallucinations, Stockhausen and Formel Komposition, etc..	2002	€5.50
	Nr. 10	mag	60 pages A4-format, great theoretical articles on sound & noise, artists & reviews: Notes on Noise (J. ATTALI, etc.), Music of the Spheres, Impossible Music, etc etc..	2003	€5.50
	Nr. 11	mag	60 pages A4-format, great theoretical articles on sound & noise, artists & reviews: Electronic Music: The unstable waveform, Big Bang and Beyond, MAX NEUHAUS, DAVID TOOP, Kuess-Pruefung-Installation, How to demolish cars with a hammer head, etc..	2003	€5.50
	Nr. 12	mag	60 pages A4-format, great theoretical articles on sound & noise, artists & reviews: "Sound Fetish Tendecies", Vanishing Point-Installation, Sound in relation to image, Acoustic Surgery, Field recordings made from Telephone Boxes, full-colour art-poster, etc.	2004	€5.50
	Nr. 13 : Tenth Anniversary Edition	mag	60 pages A4-format, great theoretical articles on sound & noise, artists & reviews: About found Sound Objects, Sound Dreams, Bicycle Clip Sex, The Sound of Steam, A brief overview of Sound Poetry, The Passing of Tape, Playing John Cage, etc..	2006	€7.50
NORDWALL, JOACHIM	MMXX-17: Before it gets better, it will get worse	LP	17th release in the series that presents 20 artists from the experimental sound-art scene with very nice design / concept => one-sided clear vinyl with laser engraved artwork by the artist on the B-Side, lim. 500 copies => JOACHIM NORDWALL created a sound poetry piece with the help of many friends / artists who whisper, speak, and sing the title-slogan, only sparse electronic sounds have been added... (VON HAUSSWOLFF, JOHN DUNCAN, DAVE PHILLIPS, LEIF ELGGREN, and many others are featured)..	2021	€23.00
NULL, K.K. / Z'EV	Brombron 17: Extra Space, Extra Time	CD	Nr. 17 in this nice series of "studio-meetings in Nijmegen of artists that would otherwise not record together in realtime" with special cover; very percussive / holy chaotic / powerful pieces with also more mysterious & calm passages, unusual drum sounds merge with KK NULLs electronics in a very fruitful & unique way! Six movements. Recommended !!	2010	€12.00
NULL, KK & JOHN WIESE	Mondo Paradoxa	CD	US-Japanese mail collaboration that took 2 years to finish, for these soundart/noise artists known for their radical music with ZENI GEVA, WOLF EYES and SUNN O))) => very harsh and abstract cut up electro-noise, filled with magnetic sounds and pulses... 10 tracks of great power, tension and lots of details... really challenging radical noise that has an almost ecstatic and cathartic effect !!	2009	€12.50
O'MALLEY, STEPHEN	MMXX-11: Ost-Väst Sommaren	LP	11th release in the new series that presents 20 artists from the experimental sound-art scene with very nice design / concept => dedicated to the year 2020 there will be 20 x 20 min. compositions on one-sided clear vinyl, with laser engraved artwork by the artist on the B-Side, lim. to 500 copies => STEPHEN O'MALLEY created a dense drone piece based on field / insect recordings and organ sounds...	2020	€23.00
O'ROURKE, JIM	MMXX-07: In all due Deference	LP	seventh release in the new series that presents 20 artists from the experimental sound-art scene with very nice design / concept => dedicated to the year 2020 there will be 20 x 20 min. compositions on one-sided clear vinyl, with laser engraved artwork by the artist on the B-Side, lim. to 500 copies => on of the highlights in the series is this new piece by JIM O'ROURKE, complex entities of ebbing and flowing sound-clouds evolve slowly, strangely harmonic, into magic spiralling..	2020	€23.00
OGROB + VOMIR	Diffusions intradermiques et enregistrements en cavités corporelles	LP	Bodies as loudspeakers ! - collaboration of these two French (experimental noise) artists with a very special concept: Noise transmitting loudspeakers have been placed on the spines of four different women, the mixture of body fluids and the noise radiated through their bodies was then captured through a hydrophonic microphone being placed inside their Vaginas! Lim. 300, with 8 colour postcards of the "body installations" & very explicit cover	2015	€19.50
ONE MAN NATION & MACHINEFABRIEK	same	maxi-CD	live recording (15 min) plus two remixes of the source material from both artists	2012	€8.00
ONODERA, YUI & STEPHEN VITIELLO	Quiver	CD	first time collab by the Japanese and US American artists, who worked with e-violin, guitars, toy piano, field rec. and synths to create quite unusual "micro-sound layer"- drones with lots of fast changing and sometimes quite melodic elements... "They built music rich with textures, loops, strange structures blurring the lines between foreground and background sounds thus making a complex and mysterious, generous and surprising music." ed. of 300	2018	€13.00
OPENING PERFORMANCE ORCHESTRA	Radio Music (extended)	CD	based on the concept of JOHN CAGE's "Radio Music" (1956), OPO used 13 historical radios (built between 1935-1961, i.e.from TESLA, BLAUPUNKT, PHILIPS), performed live at a private concert in July 2018 by 9 artists (OPO members + guests), for this most curious 72 min. piece! "Over the past 60 years or so, the content of the broadcast band of the airwaves has significantly changed, yet the acoustic environment has remained highly variegated, providing a novel quality of sound." - liner notes MILAN KNIZAK	2020	€13.00
ORCHARD [AIDAN BAKER, GASPAR CLAUS, FRANCK LAURINO]	Serendipity	do-LP	like THIS IMMORTAL COIL before, this is a project brought together by ICI D'AILLEURS to unite the talents of experienced musicians, ORCHARD consists of 4 artists performing on Cello, Clarinet, Drums and Guitar (incl. AIDAN BAKER from NADJA and FRANCK LAURINO from BÄSTARD and DEITY GUNS) who met for the first time => delicate atmospheric post-rock and drones with an oriental, ornamental flair, comes in a gatefold cover with phantastic artwork again (as known for this series)	2017	€22.50
OTZEPENEVSHIYE (Оцепеневшие)	Razryv Svyazi (Disconnection)	do-CD	this is the first proper full length release for this Russian 'supergroup' of post-industrial and experimental working ambient-drone artists, with members from CISFINITUM, SAL SOLARIS, HYPNOZ and nowadays REUTOFF, very powerful and dark aggressive 'industrial metal' or 'drone-doom', these tracks were gathered in a period of the last 10 years and feature many collaborations on the second CD: "Otzepenevshiye know how to get to the very depths and see the blackness that contains the infinite cosmic absolute"	2017	€15.00
ØE & ENRICO CONIGLIO	Inner Frost	mCD-R	first collaboration by these two Italian artists, two tracks of "glacial ambient", using long stretched synths, ocean waves, frosty micro sounds... creates an embracing atmosphere, reminds on OÖPHOI, M. GRASSOW, etc..	2013	€5.00
PALESTINE / VAINIO / THIELEMANS	P V T	LP	unreleased studio sessions from October 2013, now finally released! => six unnamed tracks or movements (C. PALESTINE: voice, piano, organ / MIKA VAINIO: Electronics & Live Processing / ERIC THIELEMANS: Drums & Percussion) of a very experimental / improvised / suspenseful nature, revealing unheard aspects of all three artists.. - lim. 500 copies on clear vinyl	2020	€23.00
PALESTINE, CHARLEMAGNE	MMXX-06: Vvvoooodddoooo Ddddooooodddddooooo	LP	sixth release in the new series that presents 20 artists from the experimental sound-art scene with very nice design / concept => dedicated to the year 2020 there will be 20 x 20 min. compositions on one-sided clear vinyl, with laser engraved artwork by the artist on the B-Side, lim. to 500 copies => C. PALESTINE created a multi-layered drone wave piece, performed on analog synths, with lots of cosmic dirt dispersed...	2020	€23.00
PARHELION & ZAC KEILLER	Farthest North	CD / DVD	first collaboration album of these two dark ambient artists from Canada / Australia, inspired by an un-romantic view on northern ice landscapes, comes with stunning film on DVD... to discover for "bleak isolationist ambient" fans! lim. 500	2013	€16.00
PECORELLI, DANIELE / MARK SCHAUB	&	LP	new LP series with philosophical approach, the two artists per side act completely independent and don't know the work on the other side: DANIELE PECORELLI aks what happens to the consciousness and our memory when we die - MARK SCHAUB (aka MAATH) reflects upon chemical transformations and the audible; both Italian artists create delicate electronic ambience pieces with strange animal (?) field recordings and waving organ synths... to discover! lim. 100 copies only	2019	€22.50
PHILLIPS, TOMAS / LUIGI TURRA	Vignettes Amplifie	CD	microscopic concrete drone ambience, using many "small sounds" objects; first collab by these two sound artists from USA & Italy.. lim. 500 on the rising Russian label NITKIE - LAST COPY!	2011	€13.00
PROPHECY SUN / EMERGE	Spirit Dream	CD-R	EMERGE collaboration with Canadian video- & installation artist "prOphecy sun", who also works as dancer & singer & theremin-player => her often wordless vocalizations combined with theremin-loops build the basis for EMERGE processings and form expressive, ghostly, amorph drone soundscapes with a dreamlike quality (also included are solo tracks by both artists); comes w. special fold out cardboard sleeve & two full colour inlays	2013	€7.50
RAPOON + PACIFIC 231	Tour de Force	CD	the second RAPOON P231 collaboration (after 'Palestine' in 2007) results in long, almost psychedelic electronic soundscapes which are not typical for both artists,...lim. 500 in fragile cardboard die-cut 'box' design with metallic colour, white silkscreen print and a set of 6 postcards, over 70 min. of playtime, lim. 500	2014	€15.00
RE-DRUM / EMERGE/ SVART I / LEFTERNA	split	MC	great 4 way / artists split album on cassette, co-released with GRUBENWEHR => the longest piece is the memorable RE-DRUM & EMERGE performance recording made in Moscow at DOM Sept. 2018 (29 min), dedicated to DMITRY VASILYEV (MONOCHROME VISION), the other material are long full drone studio collab pieces by SVART1 and LEFTERNA, and there are rare EMERGE and RE-DRUM solo pieces added.... recycled C-90 cassette, lim. 50	2022	€8.00
RECCHION, TOM	Oaxaca Dawn	pic-LP	the series of picture discs on Elevator Bath (with visual artwork by the artists themselves) continues with a release by TOM RECCHION (co-founder of the LOS ANGELES FREE MUSIC SOCIETY), who captured field recordings from Oaxaca (Mexico) and Hana bamboo (Haiti), lovely obscure recordings (i.e. masses of cocks) with no further re-working; a must for fans of the UNFATHOMLESS / MYSTERY SEA and GRUENREKORDER labels; lim. 250 copies - BACK IN STOCK !	2016	€20.00
ROSENQVIST, DAG & RUTGER ZUYDERVELT	Vintermusik	CD	re-issue of this stunning (mail)-collaboration from 2006 by the artists known as MACHINEFABRIEK and JASPER TX, who create a subtle, introverted 'breathing ambience' based on guitar drones, organ like sounds, piano, field recordings; lim. 400, comes with 23+ min. bonus track (the rare mCDR 'Feberdröm' from 2007)	2014	€12.00
ROSTAMI, ARIA & DANIEL BLOMQUIST	Still	CD	the Italian label series for the represantation of "Icy Landscapes" through sound with the second collab. release by both artists, after "Wandering Eye" (2016) => this album was created with the aim to describe how time changes, slows down and "stops" in extreme cold weather, similar to some COVID-19 experiences... - "...Gradually turning mountains to rumble and cutting out valleys where there wasn’t one before." [God is in the TV]	2021	€15.00
	Wandering Eye	CD	the first collaboration album by these Ambient artists from San Francisco. based on all kinds of instrumental, electronic, live and field recording sources, using special concepts and techniques.. -"Wandering Eye is a sonic tribute to a cold night on a mountain top, inhabited by a peculiar nostalgia of light and diurnal agitation. From the first to the last track, from the spleen at dusk to the rebirth at dawn, this humble album only asks us to forget about the world and enjoy the here and now." [Dotflac]	2016	€15.00
SABI / KIYO	71:36	CD	subtle orchestral ambience and experimental glitchy IDM by these two artists from the Tokyo electronic scene... on the new sister-label of the re-established MILLE PLATEAUX	2011	€13.00
SAMARTZIS, PHILIP & LAWRENCE ENGLISH	One plus One	maxi-CD	first studio recordings by the two Australian soundartists working as a duo, abstract experimental soundscapes made out of field recordings & loops, creating a nice 'undertow'... clear slipcase, 30 min. playtime, special offer now!	2006	€7.50
SANTOS SILVA, SUSANA	MMXX-08: Sometimes it's raining a lot	LP	8th release in the new series that presents 20 artists from the experimental sound-art scene with very nice design / concept => dedicated to the year 2020 there will be 20 x 20 min. compositions on one-sided clear vinyl, with laser engraved artwork by the artist on the B-Side, lim. to 500 copies => Portugesian trumpet player S.S.SILVA (more known in the impro & Jazz scene) mixes instrumental sounds, electronics, voice and field rec. for a dronish experimental journey, very nice..	2020	€23.00
SAUNDERS, BRYAN LEWIS	Near Death Experience	CD	re-issue of the LP from 2010, now with 7 bonus tracks from rare CD-Rs or completely unreleased=> spoken-word art and sound poetry with various artists supplying the sounds, such as JOHN DUNCAN, MARCELO AGUIRRE, JOACHIM MONTESSUIS, etc.. "The bastard son of William S. Burroughs, Antonin Artaud and Crispin Glover. Hilarious, awful, heartbreaking and brutally honest, his Stand Up Tragedy is some of the best shit I’ve heard in a decade" [LYDIA LUNCH] - lim. 300 with 20 page booklet feat. all lyrics	2018	€13.00
SEARCH ENSEMBLES	same	CD	curious project by DALE LLOYD who collected material from the archives of various artists (recorded 1980-2015 around the world) and created 16 wondrous "archaic/ethno/field recording" pieces, reminding on ZOVIET FRANCE and beyond.. participants: C. PEYRONNET (TOY BIZARRE), A. COURTIS (REYNOLS), MICHAEL NORTHAM, LOREN CHASSE, SLAVEK KWI (ARTIFICIAL MEMORY TRACE), and many more... he calls it "Sonic Archeology"; very nice! Lim. 150 copies	2015	€13.00
SEETYCA	Mbira	CD-R	epic one tracker of 80 minutes using sounds of various artists from the MBIRA-label such as VZUSDW, ARTIN MUCHT, MOEDRA, [:kopfapffel:], etc. etc.. => cosmic bubbles drenched in endless reverb, far away sonics waving in slow passages, weird electronic and non-electronic acoustic objects appear for a short time, etc...no rhythms, extremely subtle, real subconscious space - mind music ! full-colour cover, lightscribed cdr, the MBIRA jubilee release !	2015	€12.00
SEIROM	Mesmerized	CD	third album by dutch MAURICE DE JONG's "heavenly ether-ambience" project, seven shimmering tracks that appear even more melodic and melancholic (almost shoegazing) than on the first two albums, think of early 4AD or PROJEKT Records artists, or LOVESLIESCRUSHING ... completely elevating..	2015	€13.00
SERRIES, DIRK / RUTGER ZUYDERVELT	Buoyant Live	LP	live version (semi improvised) of their "Buoyant" album, performed live at the Incubate Festival in Tilburg, Netherlands, Sept. 2015; this was also the very first time both artists (also known as MACHINEFABRIEK and FEAR FALLS BURNING) were together as a duo on stage.... exquisit guitar drone waves, subtle microsounds, layers of loops = 2 experienced artists knowing how to create organic, shimmering drones and swirling electro-clouds.. numb./lim. 300 copies with huge poster-cover	2016	€19.50
SHENTOV, IVAN / ANGEL SIMITCHIEV / MARTIN LUKANOV	Palimpsest	MC	four long-form drone ambient pieces based on several live & studio sessions by these three Bulgarian artists (also known with their projects KRALLAR, MYTRIP, MOTHER SPIT) => "delicate traces of raw ambient, found sounds and field recordings, processed guitar and electroacoustic improvisation." - Limited cassette release, prof. design, 66 copies	2022	€8.00
SHIROTSUBAKI, HIROTAKA + SLEEPLAND	Etude 3	mCD-R	spacious guitar-drones in subtle clouds, in the way of CHIHEI HATAKEYAMA, MIRROR or ULTRA MILKMAIDS... nice collab by these two ambient artists from Japan	2017	€5.00
SHRINE	Ordeal 26.04.86	CD	the Bulgarian Drone Rec. artists SHRINE (see DR-89) became a much respected name in the international dark ambient scene, this new album is centered around the CHERNOBYL disaster 30 year ago, an insight of a possible apocalypse still to come => on 'Ordeal 26.04.86' the development from the pre- to the post-nuclear condition is transformed into deeply touching six movements, so emotional and sad... "overwhelmingly dense.. the best SHRINE album so far" [NON-POP]	2016	€13.00
SIJ	The Earth Shrine	CD-R	deep harmonic ethno ambient from Ukraine, this is the second chapter in the "Shrine"-series => field recordings from nature are combined with synths, percussion, bells and many other little sound objects for four very contemplative Ambient tracks with slow tribal pulses..sound sources were delivered from various artists as ROBERT RICH and RAPOON..comes in wonderfully designed handmade/gatefold cardboard cover with three full-colour cards, numbered ed. of 80 copies	2015	€10.00
SORRY FOR LAUGHING (GORDON H. WHITLOW - MARTYN BATES - EDWARD KA-SPEL)	See It Alone	CD	incredible project with three of our all time artists involved: WILLIAM SHARP ( BIOTA), MARTYN BATES (EYELESS IN GAZA) and EDWARD KA-SPEL (LEGENDARY PINK DOTS), plus more guest musicians - on 12 tracks they create minimal melancholic "folk" songs based on synth piano & organ, accordeon, violin, with some nice experimental sound effects and tricks, and often vocals.. - "This album is a gift that moves for its simplicity and intimacy" [LOOP]	2021	€15.00
SPECTRES	II - Resonances	BOOK	"the real is oscillatory" - second volume of the new book series by Shelter Press & Ina Grm, on the theme RESONANCES, with highly interesting short texts by composers, philosophers and sound artists such as: THE CARETAKER, TOMOKO SAUVAGE, MARYANNA AMACHER, DAVID TOOP, ELLEN FULLMAN, C.ZANESI, C. KUBISCH, etc.. bi-lingual english/french, 196 pages, golden cardboard cover	2020	€16.50
STETSON, COLIN & SARAH NEUFELD	Never were the Way she was	LP	rediscovered, this superb collaboration album by two high-class Constellation solo artists, with compositions based on horn & violin - an expansive sonic trajectory with a multiplicity of structures and voicings that belies the fundamental economy of two acoustic instruments combining in real time.. - 180gr vinyl with heavy sleeve, insert, art poster and DL code	2015	€22.50
SUZUKI, AKIO & LAWRENCE ENGLISH	Boombana Echoes	maxi-CD / art-print	first collaboration by these two sound artists from Japan & Australia, site specific forest recordings made in Australia merge with bizarre instrument & object sounds, live Dec. 2005; hand-numbered ed. of 300, 2 color letterpress die-cut sleeve / LAST COPY!	2012	€20.00
TARAB	I'm Lost	CD	new TARAB work with various levels of possible meanings based on the phrase I'M LOST, a "schizoid-conrete opus", where all kinds of field recordings are used & processed in different way => from short & harsh collages to post industrial sounding factory drone noise passages, the Australian sound artists creates again rough & inspiring 'found sound' landscapes...	2014	€13.00
THE NORMAN CONQUEST / AGNES SZELAG	nadir / ZENIT	LP	on this split LP, two artists from the U.S. (also known as DOKURO) are working ONLY with vintage analog monophonic synthesizers recorded to analog tape - resulting in layers of warm & harmonic cosmic ambiences, carefully pulsing & evolving.... lim. 300, with download code	2012	€15.00
THISQUIETARMY + YELLOW6	Death	LP	Guitar-drone collaboration by these two artists from Canada & UK; melancholic & lonely ambient landscapes, not as dark as the title suggests; lim. 400 on golden & black vinyl. Mastered by FEAR FALLS BURNING	2010	€14.00
THORSTEN SOLTAU & COMRADES	Roman Feast & a Grape from Thor Heyerdahl's Table	do-MC BOX	a collection of various works by German composer THORSTEN SOLTAU, using diverse sources from other artists such as MAX KUIPER, DEAD MAURIACS or MARINA STEWART, with nice organ-like multi-layered drones.."whipping noise layers and piercing feedback drones combined with amplified objects, to field recordings, repeating piano rhythms and hidden voice fragments to spoken word storytelling!" Spread on two MCs in big double case box with many inlays/cards, lim. 76 copies	2014	€14.00
THROBBING GRISTLE	20 Jazz Funk Greats	do-CD	re-issue of the third TG-LP from 1979 (Industrial Records IR0008), their "electronic/rhythmic" album that influenced generations of techno-artists; re-mastered by CHRIS CARTER ; third in a series of five TG-albums to be released this winter, comes with bonus-CD with a selection of live recordings from the TG24 archive, and the DISCIPLINE 12"	2011	€18.50
	Mutant T.G.	CD	the one and only TG remix album, now re-pressed ! => Classic TG tracks like "Persuasion", "United", "What a Day", or "Hamburger Lady" are remixed and re-arranged by (pop and techno) artists you wouldn't really expect, with surprising results: MOTOR, SIMON RATCLIFFE, CARL CRAIG, HEDONASTIK, TWO LONE SWORDSMEN...additionally,two tracks comes from CARTER TUTTI; artwork design PETER CHRISTOPHERSON	2023	€16.00
TIETCHENS, ASMUS / THOMAS KÖNER / ILLUSION OF SAFETY / DITTERICH VON EULER-DONNERSPERG	Untitled	do-7inch	back in stock this nice double 7" with exclusive material, released on the occasion of a live event of all four artists that happened in Bremen, Germany, in April 2001; lim. 500	2001	€15.00
TIETCHENS, ASMUS + ALICE FRESHMOUTH	Lumieres	CD	first collab album by the two sound artists from Hamburg, behind ALICE FRESHMOUTH is TOM FLEISCHHAUER (i.e. ROSSBURGER REPORT!), they created 11 tracks of a very "ambient industrial" nature, subtle but mysterious... -"It is sometimes industrial or ambient, but always with that vague notion of a melody, or at least a trace. Also, there seems to be a greater diversity of sounds in the music here, with more field recordings, straightforward drone sounds, and vaguely industrial soundscapes.." [Vital Weekly]	2024	€15.00
TOY BIZARRE / EMERGE	untitled	LP	split album dedicated to the 'acoustics of mines': Side A uses original field recordings from TOY BIZARRE recorded in abandoned French mines (already 1995), which were later re-arranged & processed to form one fantastic side-long collage of various subteranean drones and ominous concrete sounds.... ; Side B shows EMERGE re-mixing the sources in a much different, dark musique concrete / ambient industrial way... a real masterpiece by these two Drone Rec. artists (DR-31, DR-64)!!! lim./numb. 300 copies	2015	€16.00
UN/SOUNDING THE SELF	A PORTRAIT	DVD + book	a film by CHRISTOPH COLLENBERG (60 min) with accompanying 120 page booklet about "silent composing": inspired by H.D.THOREAU and JOHN CAGE the filmed artists start composing only after hours of silent walking through the landscape, "Silent walking as a means of heightening the senses, inflowing sounds become the basis for compositions..."	2020	€18.00
UNDER THE SNOW	Popsongs	CD + BOOK	new release feat. a book with collages and texts by various artists, by the project of STEFANO GENTILE (the man behind SILENTES) and GIANLUCA FAVARON, surely one of Italian best experimental working ambient projects.... "A collection of thoughts and sounds about pop. The CD with 33 minutes of abstract, electronic compositions is attached to a 40 pages 8" booklet" ed. of 280 copies - STILL TO DISCOVER !	2017	€20.00
VAN GULICK, JASON	Concrete	LP	the Brussels based label is a great place to discover new names & artists: JASON VAN GULICK is a drummer who presents recordings entirely made on / from his drumkit, creating atmospheric drones with a bow or other unusual tones and noises with sticks and objects..."Quite a bit of work went into balancing the various recordings and Van Gulick delivers a beautiful record. Loud and dark, light and quiet; he knows how to built excellent soundscapes in space.." [Vital Weekly] /lim. 100 first screen printed ed.	2018	€20.00
VAN HOUDT, REINIER	MMXX-04: Les Champs Lissajous	LP	4th release in the new MMXX series that presents 20 artists from the experimental sound-art scene with very nice design / concept => dedicated to the year 2020 there will be 20 x 20 min. compositions on one-sided clear vinyl, with laser engraved artwork by the artist on the B-Side, lim. to 500 copies => REINIER VAN HOUDT created a cloudy, amorph, dreamlike soundtrack for TAKASHI MAKINO's film "Memento Stella" (2018)	2020	€24.00
VIGROUX, FRANCK	MMXX-01: Tension 24	LP	first release in a new series that presents 20 artists from the experimental sound-art scene with very nice design / concept => dedicated to the year 2020 there will be 20 x 20 min. compositions on one-sided clear vinyl, with laser engraved artwork by the artist on the B-Side, lim. to 500 copies => FRANCK VIGROUX starts the series with an awesome,multi-layered overwhelming drone piece that slowly develops into something else, complex and surprising to follow in its development... highly recommdended !!	2020	€24.00
VON EULER-DONNERSPERG / WATARU KASAHARA / C. MEHRL BENNETT / MAJA S. RATKJE / POLIZEI-DIENSTHUND HJULER	ENID BLYTON - Fünf Freunde erzählen Kindergeschichten	LP	ACHTUNG: SCHINKENFLUXUS! You look for daring concepts in art = ? = each of the artists on this release appears (conceptually) as a character of ENID BLYTONs "Famous Five", presenting a children's story as a collage... this has a rare live track by MAJA S. RATKJKE, and two tracks by DITTERICH on speed, much sounds fragmented and morphed here in some way... a weird record! lim. 100 with laminated, handmade full colour cover	2018	€23.00
VON HAUSSWOLFF, C.M. (CARL MICHAEL)	MMXX-03: For Marietta	LP	3rd release in the new MMXX series that presents 20 artists from the experimental sound-art scene with very nice design / concept => dedicated to the year 2020 there will be 20 x 20 min. compositions on one-sided clear vinyl, with laser engraved artwork by the artist on the B-Side, lim. to 500 copies => CM VON HAUSSWOLFF trudges with you through a dense but mellow / somehow harmonic drone-fog that changes its 'Gestalt' gradually and suspends the passaging of time (for at least 20 minutes;)...	2020	€24.00
WAI PI WAI	same	CD	project of Herman Klapholz (AH CAMA SOTZ) & Jerome Soudain (MIMETIC, COLUMN ONE) - "THE INTENTION OF BOTH ARTISTS WAS TO CREATE A NEW UNIQUE SOUND BY THEIR COLLABORATION AND THE RESULT IS REALLY UNIQUE RHYTHMICAL ELECTRONIC STUFF WITH KICKING BEATS AND CRYSTAL CLEAR SOUNDS. MUSIC NOT ONLY FOR CLUBS BUT ALSO FOR HEADPHONES.” [Hands info] - LAST COPY	2004	€13.00
WALDRON, M.S./ STEVEN STAPLETON / S.B. SIGMARSSON / JIM HAYNES / R.K.FAULHABER	The Sleeping Moustache	CD	very much favored 'chain collaboration' by these five artists, finest Acoustic Surrealism between drone, collage and sound poetry, intense and dreamlike... "Magnetic tones extracted from the ether, mechanical sounds smeared into a lugubrious growls, horns trumpeting straight out of John's Book of Revelation, ululations sliced into information overload that Schwitters himself would be proud of." - 10 tracks, 65 min. incl. 5 letter print artworks; BACK IN STOCK!	2006	€14.00
WHETHAM, SIMON	D/R	CD-R	three pieces composed in Tallin, Estonia, together with other performance artists, especially the first main track (27+ min) is a fascinating journey into a world of near silence, mysterious hissing, metallic rumbles and environmental drones... - lim. 100 copies only, professional cover & duplication! last copies back in stock, special priced now	2009	€7.50
XQM / EMERGE / LDX#40	Session #43, recomposed	CD	three way split CD with three EMERGing noise/drone/experimental artists from Germany => XQM, a duo from Koblenz, start with a stunning 20 min. amorph drone-noise piece, nicely evolving with lots of buzzing swirls, EMERGE created a more surrealistic electro-acoustic drone piece with odd voice sounds and more, LDX#40 produced a dark analogue ambient noise track with suspense, also using field recordings from XQM..	2019	€12.00
XYRAMAT / THORSTEN SOLTAU	Lack klebt auf Schwarzgeld nicht	7	XYRAMAT reworks sounds from THORSTEN SOLTAU; lim./numbered ed. 100 copies; another collaboration from two artists coming from the HÖRBAR- association in Hamburg, bleak rhythmic minimalism	2010	€7.00
ZEALLEY, ANDREW	Themes & Variations	LP	"...the third installment in Zealley's "How To Explain Silence To A Dead Hare" series of vinyl project editions. The album showcases selected film, video, installation and performance music by Zealley, commissioned by visual artists - including Luis Jacob, Joey Medaglia, Benny Nemerofsky Ramsay, and Scott Treleaven." - lim. 300, numbered, inlay	2009	€25.00
[-HYPH-]	Irrelevance.aif [step 2]	mCD-R	“you.re accepted. you.re integrated. even if it hurts, it won.t hurt.” Special edition of an installation soundtrack from the ambitious Hamburg-based sound-artists Nicolas Wiese aka [HYPH]. Samples & found sounds are interfused with droney waves in a collageous way and build a rather unseasy soundscape...	2004	€5.00
[LAW-RAH] COLLECTIVE, THE	Inspiration	CD	"this time the [law-rah] collective is martijn pieck and bauke van der wal. bauke is the founder and original member of the collective, hence the first releases were the result of his twisted mind. during the years of law-rah's existence, he has collaborated with several people and re-evaluated the collective nature of the project. this in turn has changed a solo project with a weird name to a true collective of artists in both the audio and visual arenas. martijn and bauke have known each other since 1993 and shared many hours making music together. however, in the mid 90's both martijn and bauke went in different directions when it came to creating electronic music. in the autumn of 2007 the time was right and they once again started making music together. with this release martijn has become a full member of the collective and ideas for many future projects are already locked into their collective minds. "it's a new collective now. so a new i ... i (me) becomes us. after incarnation and isolation, now inspiration." (bauke van der wal) compared with the collective's conceptual works like '1953', which was an earlier release by bauke and dutch writer, vocalist and member of the collective hiekelien van den herik, this album's subject is a more private and subliminal one. all track titles are related to baukes and martijns home town utrecht, and to the history they shared there over the years. a quote from a band both bauke and martijn appreciate is printed on the cover as a good example of their 'inspiration' and perfectly illustrates their thoughts about this town: "this is the place where all roads meet, the place where all is secret. the place where time stands still in the comfort of night and love becomes will in the presence of light. i never want to leave..." (taken from 'terminus' by psychic tv) musically, 'inspiration' can be clearly identified as a new step in the [law-rah] collective's exploration of their electronic microcosm. sub-bass lines and drones interact with beautiful idm'ish melodic lines that are complimented by pulsing beat sequences - inducing an overall majestic and sometimes melancholic impression. this music is filled with deep, haunting and phantasmagorial sounds that are expertly adapted to give one's fancy a full scope of emotion. more simply put, this is a inspired journey through two persons' past and present. "the basics from the [law-rah] collective always was that you create your own imaginary movie and we'll take care of the soundtrack..." (bauke van der wal) [full label info] www.ant-zen.com	2008	€12.00
[SIC]	Gorilla Masking Tape	CD-R	Hinter [SIC] verbirgt sich die junge Nachwuchs-Elektronikern Jen Morris aus Montreal, die hier auf sechs Stücken analog-elektronischen dark ambient entwirft, der aber sehr UN-minimal ist, d.h. sich ständig verändert & neue Sounds & Färbungen aufnimmt. Sehr subliminal & z.T. mechanisch-maschinell, sehr zu empfehlen ! “Having listened to and zoned out on this release at least half a dozen times, it should be obvious what it is that is so compelling about [sic]'s compositions of dusty long drones, deep ambient spaces and bump-in-the-night tension, but it's not. On the one hand, this is difficult listening: all uneasy sounds and dischordant timbres rubbing up against one another to create an ambiguous feeling of dread. On the other hand, for those familiar with the work of like-minded artists like those featured on the quasi-legendary "Isolationism" compilation, [sic] fits perfectly into a already-defined niche of dark, brooding ambient characterized more by its claustrophobia than by its use reflection of space as an expanse. I could tell you that Gorilla Masking Tape is a beautiful, haunting record, or that it's alpha-wave inducing at the right volume, or that it's a perfectly quiet record for people who lead unquiet lives, but none of that really captures the force that these tracks embody. Perhaps the record's most defining characteristic is that it is indeed so malleable that it can be both loud and quiet, both serene and disturbed, both beautiful and terrifying and that it does all of this effortlessly. I often wonder what more can be said about music like this that is both barely there and a force of nature all at once, depending on your volume knob. I always think that it will be impossible for someone to release yet another essential dark ambient disc in a world where artists who do this sort of thing tend to have voluminous discographies of equally affecting work already. I think that, and then I hear a record like Gorilla Masking Tape and it suddenly all sounds fresh and important and essential again and I'm left wanting more. It doesn't get much better than that.” [Matthew Jeanes - Brainwashed Brain]	2004	€11.50
2KILOS & MORE	10	do-CD	To celebrate the 10 anniversary of 2kilos &More, Audiophob presents a new aspect of the project on a double CD release. The first CD of this set contains live recordings of tracks from the previous releases as well as an unreleased remix the duo created from material provided by Rapoon (founding member of Zoviet France). The live recordings originate from two festival appearances of the band in Nancy and Jouy Le Moutier and feature the guest vocalists Flore Magnet and Phil Von (both Von Magnet) as well as Black Sifichi. Some of the songs can be found for the first time on CD with lyrics, as they have been released as instrumental tracks so far. The second part of the release features new approaches to the 2kilos &More sound as provided by the remixes from a remarkable selection of artists (Rapoon, Imminent, Von Magnet, Bérangère Maximin, The Berg Sans Nipple, Needle Sharing, Roger Rotor, Spherical Disrupted, Muckrackers, Picore and Wild Shores.) Besides different variations of Ambient and Industrial/Noise sounds, more unexpected approaches from Post-Rock and Drum'n'Bass can be found. (auphcd019) https://audiophob.bandcamp.com/album/10	2013	€16.00
400 LONELY THINGS	Mother Moon	CD	The new album from 400 LONELY THINGS, produced by WILLIAM BASINSKI, is a dark ambient, sample-based séance to the Banning Mill - a real-life decaying \"mansion\" and haven for artists, freaks and misfits in the backwoods of the American Deep South in the 1970s-1990s - and an extraordinary piece of art that lived there. An archaeological excursion in found sound - wandering through the art and memory of a real place, \"Mother Moon\" is an origin story for 400 Lonely Things. In the 1990\'s, Craig Varian was fortunate enough to frequent the Mill in the years before it closed. It was here that he was exposed to the artwork of Richard Scott Hill. The impact is hard to overstate. Built on the Snake River in the early 1800\'s as a textile mill, it operated until the late 1960\'s and when its doors closed on that era, and reopened on another. In 1971, the Mill was purchased by a young wealthy \"eccentric\" (to use the vernacular of the time). He was openly gay in the deeply bigoted Old South, a collector of fantastic and surreal art, a drug enthusiast, an owner of at least one mental illness, and a self-described entrepreneur with a vision. In the years that followed, he turned this sprawling, mildewed structure into a private hippie art collective, music venue and refuge for Southern misfits - gays and gender-benders, visual artists, musicians, mystics, ghost-hunters, wizards, pagans, intellectuals, poets, nerds and psychedelic explorers by the dozens drifted in and out, creating their own alternate universe in its hundreds of rooms. One of these artists was Richard Scott Hill. Hill\'s work stood apart from everything else at the Mill. It was all black and white or hand-coloured photography - typically stark portraits of people - almost always wearing masks. These photos were disturbing and disarming, hilarious and crazed, unsettling and aggressively surreal in their confrontational simplicity. His work both captured and fed into the Mill\'s sinister yet playful undercurrents of mania and depression. By the conservative 1980\'s, the Mill became a very different place. A dark and quiet ectoplasmic hangover haunted its rooms with just a handful of tenants, remaining so until its doors closed for good in the late 90\'s. Varian had friends that lived there, and after hearing quiet legends of the Banning Mill since the late 80\'s, was finally able to visit. While the Mill itself was transformative enough, turning down a disused hallway, Varian encountered the image on the cover of this album and quite simply became a different person. A lifetime spent as a Southern misfit had led to fruitless artistic, philosophical, spiritual and psychedelic pursuits as relief. At this time, an obsession with visual collage and audio sampling had been brewing and upon seeing this image, boiled over. He realized that the sounds and images he\'d been seeking had been sought by many others and that for a time, these seekers had lived here in the secret winding halls of Banning Mill in the wilds of the Deep South. In particular, this nude cow-faced woman was the Minotauress who sat at the heart of that maze. Since the days of the Mill (and Varian\'s subsequent purchase of Hill\'s \"Minotauress\" shortly before the Mill closed), Varian, along with best friend and musical partner Jonathan McCall, found a thread of music they\'d been consistently making yet had previously failed to notice - melancholic instrumentals with weathered sampling at its core - going back to their earliest recordings in the late 1980\'s. Eventually, this music was called 400 Lonely Things, and eventually an album would be attempted to honor both the Mill and Richard\'s \"Minotauress\". The Mill has been closed for about 25 years now and all that remains of it is a gutted skeleton covered in yellow caution tape. After a dozen albums, Jonathan McCall has since passed on to the next realm. But this album, born out of that first visit to the Mill, is finally here - an imaginary soundtrack to the many years of solitude the Minotauress spent hanging in that musty hallway. For this album, Varian reached out to Mr. Hill and a friendship and artistic relationship has developed. Richard - now in his 80\'s and an established figure in the established art world - still creates fantastically bizarre works daily from his home studio, just a mile from the remains of the Mill. He says that the music of 400 Lonely Things is from another dimension and he hopes you enjoy it and his previously unpublished art gracing the cover. Presented in a 6-panel spot-varnished digipak. credits released April 11, 2023 Produced by William Basinski Additional Mixing and Mastering by Preston Wendel Covert art by Richard Scott Hill \"Mother Moon is a cypher that saves an important hidden fragment of cultural history from erasure.\" Ben Ponton, Zoviet France. \"Mother Moon is darkness calling. It will take you to the outer limits and leave you there. Guaranteed to twist your mind.\" Andrew Hulme, O Yuki Conjugate. \"A wistful, burrowing, beautiful nightmare.\" Daniel Kraus, NY Times Best Selling Author of The Living Dead with George A. Romero, and The Shape Of Water with Guillermo Del Toro. https://coldspring.bandcamp.com/album/mother-moon-csr319cd "It's one of those weeks... Being a former ginger/redhead, I have problems handling the moist 25-30 Celcius) heat in the Netherlands. So I hardly get to do anything, and I get distracted all the time, like work and such. So I have been trying to start a review of "Mother Moon" by 400 Lonely Things several times, and each time I end up just listening and floating away, Drifting on the waves ... And I didn't even feel bad about listening to it over and over and over ... Produced by William Basinski, 400 Lonely Things is a project by Craig Varian inspired by recordings around, based in, or related to an old mill. A beautiful PDF was sent to us, and it might well be part of the Bandcamp download, but how you get your hands on it when you get the CD: I don't know. The 400 Lonely Things concept focuses on the arrangement of lost and found sounds, and the melancholia is certainly audible in the release. Also, the journey aspect is very well set in this release, the journey being the descriptive part of environments through sound as a medium. So in many areas where the boxes should be ticked to make a release interesting, those boxes are actually ticked. Musicwise, "Mother Moon" is an absolute beauty. Almost 80 minutes, with deep drones, minimal melodic lines, scarce structural sounds (no rhythms), ambience and, on occasion, a mesmerizing voice preaching solitude and melancholia. And here and there, an ever so slight 'touch of Coil' (for example, in "In Darkness"). So at this point, I would say: Get the album and don't worry too much about everything else. But the booklet and combined conceptual approach is a bit of a downer for me, as it turns out. I mean: Concepts make many releases I know/heard/have enjoyable, and I know all about it as an artist myself. But in a weird way the conceptual approach is so elaborate and massive that it almost forces me to think about it. And all I want to do is just enjoy the flow, as a psychonaut, ride the waves and not be bothered too much with all that mumbo jumbo. But that's just me. I think... I hope... Other than that: Go Flow, Go Dream, Go Listen, Just 'Be' ..." [BW / Vital Weekly]	2023	€15.00
7JK (SIEBEN & JOB KARMA)	Anthems Flesh	CD	"7JK is a head-on collision of Sieben (UK) and Job Karma (PL). Looping violin and warm vocals mix seamlessly with electronics and an industrial edge." [label info] "Anthems Flesh sounds like these two well-loved artists combining, but also completely new: Something different has been born here. This new band will take all concerned to new heights: Powerful, intense, aggressive, mellow. Simply great songs, a wealth of emotions, an amazing meeting of two mindsets. A must-have album." ]B.Flynn] www.7jk.eu	2012	€13.00
9T ANTIOPE & SIAVASH AMINI	Harmistice	LP	9T Antiope have made a name for themselves in the vibrant experimental music scene of Iran over the past years. Now based in Paris, Sara Bigdeli Shamloo and Nima Aghiani are expanding their stylistic scope and team up with long-time friend Siavash Amini for their debut release on Hallow Ground. After 2017's "TAR" and "FORAS" the year after 2018, "Harmistice" is Amini's third LP for the Swiss-based label and his first in collaboration with other artists. Recorded in Paris and Tehran, the four tracks are the result of "all the long hours of speaking online, being kilometres away, it is a love child of those short times we actually got to be physically in one place." Vocalist and lyricist Shamloo enters a dialogue with Aghiani and Amini's sound art, which is from restrained but interlocks voice and noise with striking subtlety. "Harmistice" seamlessly blends the visceral with the sublime, the abstract with the oh-too-real. From the very first second of "Blue as in Bleeding", "Harmistice" evokes a sense of suspended terror. Shrill frequencies and aleatoric bursts of feedback give way to a hardhitting bass drum until Shamloo's voice arises from the chaos with an uneasy clarity. It's the perfect opening for a record that is built upon stark contrasts like this one. Amini and Aghiani bring together synthetic sounds with acoustic instruments, creating a tangible tension on which Shamloo's sometimes sensitive, sometimes emotionally detached delivery thrives. "It's all based on a dream, a nightmare about war," she says in regards to her lyrics that move between poetic abstraction and first person prose, blurring the lines between lived experience and sinister premonition. "Harmistice" takes inventory after the oneiric damage has been dealt in real life. As a whole, "Harmistice" is thus as ambiguous as its title suggests. As an all-too-lucid dream about unspeakable things that are being lent a voice it overwhelms the senses with an unheard-of volume. Drawn from the depths of the subconscious, "Harmistice" may just be the most challenging album in either 9T Antiope or Amini's discography.	2019	€22.00
A SILVER MOUNT ZION	This is our Punk Rock	CD	Ja, das ist wirklich ne andere Art von PUNK ROCK! Auf ihrem dritten Album bedient sich das Montrealer Ensemble eines Chors, und überhaupt spielen Lyrics eine viel größere Rolle als vorher. Enstanden sind vier lange eindringlich-melancholische Songs, etwas weniger episch und monumental als gewohnt, mit einem stärkeren 70er Jahre Psychedelik - Flair.. Kommt wieder im handgeschnitzten Siebdruck-Cover mit dicken Booklet und dem typischen Constellation-Artwork. “This third full-length recording by Mt. Zion finds the band continuing to work as a six-piece, with various guests on drums & a couple dozen folks on choral duty. The core personnel remains Efrim (guitar, piano, tapes, effects, vocals), Thierry (bass), Sophie (violin), Beckie (cello), Ian (guitar) & Jessica (violin). While the band's previous album, Born Into Trouble As The Sparks Fly Upward (cst018), was recorded immediately after a European tour and went to tape largely unadorned, the new record was sketched in rehearsals through the fall of 2002 & then extensively arranged in studio at the hotel2tango. The result is four long pieces, each in two or more sections, all featuring group &/or lead vocals. Efrim's increased vocal presence is the most obvious evolution from past efforts, yielding the most direct articulation of themes & emotions that have run throughout his work with Mt. Zion & godspeed you! black emperor. Long instrumental passages remain however, marked by the most compositionally deliberate, complex & precise writing the band has set to tape thus far. Dense layers of strings collide, blend & differentiate against a backdrop of ragged repeating guitar figures & noise treatments. The amateur choir assembled for the 'fasola' sing-along on the opening track sets the tone for an exuberant community-rallying protest music that constitutes the spiritual foundation of the record. Destruction of communities (foreign & local) are lamented & eulogised in the following tracks, culminating in the album closer: an ode to the unzoned terrain surrounding the railyards adjacent to the neighbourhood where the band, along with many other Montreal musicians & artists, have lived since the early 1990s. This land is now being swallowed up by big box & condo development. "This is Our Punk-Rock,”... addresses head-on the local/universal demise of uncontrolled and unregulated urban landscapes - a demise that stretches from the docile walls of superstore complexes & protest 'pens' in the West to outright military surveillance, harassment & murderous 'surgical' strikes by Western-backed armies in South America & the Middle East. This unbroken curve is at the heart of Mt. Zion's poetics & politics - this is their punk rock.” [press release]	2003	€12.00
A.G. (AGHIS GIANNOULIS)	Colours in Black & White : 2017-2018	DVD	Colours In Black & White (DVD / HD AV), consists of five parts, is the new audiovisual artwork by A.G created from 2017 to 2018. This project is an approach of - Digital Visual Music - in linear process, intersecting the aesthetics of new media art and post-minimal composition, as well as experimenting with the bounds of static and moving imagery next to the music in slow motion. The visuals were developed by the transformation and multiplication of a single video signal through digital post-production, resulting into an abstract black & white video synthesis. Titles : Colours In Black & White I : 2017 (Duration 25:00) Colours In Black & White II : 2017 (Duration 30:15) Colours In Black & White III : 2018 (Duration 25:33) Colours In Black & White IV : 2018 (Duration 28:15) Colours In Black & White V : 2018 (Duration 18:50) __________________________________________________________________________________________________________ A.G is a media artist based in Athens & Paris. He has released studio albums and audiovisual works under the names of ANIKA and A.G. In 2015 he reinterpreted three compositions of Erik Satie in the 3CD compilation ERIK SATIE ET LES NOUVEAUX JEUNES 2 (incl. Max Richter, Peter Broderick, Sylvain Chauveau, Rachel Grimes & Dustin O'Halloran), released by french label Arbouse Recordings. He has participated in various collective exhibitions where he presented audiovisual artworks and has collaborated with Free103Point9 Transmission Arts organization for Noise!2009 Festival (Ontological Hysteric Theater) in New York. A.G Works : 2005 ANIKA:A:0304 (MLP) 2008 ANIKA:A:0507 (LP/CD) 2009 ANIKA: 33 RECORDING SESSIONS, NOT INCLUDED IN A:0507 (CD-R) 2010 A.G:POLYGON:08 (CD) 2014 A.G:VIDEOS:2003-2013 (DVD-R) 2015 ERIK SATIE ET LES NOUVEAUX JEUNES 2 (3CD Compilation) 2018 A.G:COLOURS IN BLACK AND WHITE:2017-2018 (DVD-R) Videos : Colours In Black & White I (25:00) : https://www.youtube.com/watch?v=dhf0LEUunfU Colours In Black & White II (30:15) : https://www.youtube.com/watch?v=m8DK3WZgGts Colours In Black & White III (25:33) : https://www.youtube.com/watch?v=gs6VaQjEL0k Colours In Black & White IV (28:15) : https://www.youtube.com/watch?v=25dV70HXzJY Colours In Black & White V (18:50) : https://www.youtube.com/watch?v=ztCprALWI3Q&t=336s Links : A.G:POLYGON:08 http://agpolygon08.blogspot.com ANIKA:A:0507 http://anika-a0507.blogspot.com A.G:VIDEOS:2003-2013 http://ag-videos2003-2013.blogspot.com A.G:LIVE AT FENAILLE MUSEUM. RODEZ:20.05.17 https://www.youtube.com/watch?v=FLRD4yPV0J4 FREE 103 POINT 9 / TRANSMISSION ARTS https://wavefarm.org/ta/artists/xnc29y RE:VOIR http://re-voir.com/shop/en/film-revoir-experiemental-film-dvd/786-ag-videos-2003-2013.html _	2018	€12.00
ABRAHAMS, CHRIS	Fluid to the Influence	CD	"Chris Abrahams returns in 2016 with a new edition for Room40, Fluid To The Influence. Building upon the foundation of his previous three editions, Abrahams charts out a divergent course through lilting piano flows, distended organ passages, thunderous electronic eruptions and focused concréte explorations. Fluid To The Influence spans a huge spectrum of sound, each movement calling forward to the next in a flowing motion that demonstrates Abrahams’ commitment to and interest in the album as an artistic form. Known widely for his piano work with post-everything trio The Necks, Abrahams output as a composer orbits an otherly sonic sphere. Piano is just one element he draws upon, creating a deliberately expansive sound field within which the listener is invited to become lost. He is one of the most significant voices in Australian music, and arguably one of the most restless and original artists creating work today." [label info] www.room40.org	2016	€14.00
AEOGA	Temple Treye	CD	"We are pleased to confirm that Aeoga, a duo formed back in 2004, is active again. Temple Treye is a work that was recorded and presented live already in 2006, but because of various reasons remained hibernating in the group’s personal archives for eight years. Due to the recent awakening, it was essential to gather the past and free these six telemorphic sonic formations; the crescent pillars had to be ignited. Temple Treye will be released through our Sublunar series, concentrating on presenting the new releases from the artists of the Helixes collective. Temple Treye is an ascetic yet vigorous continuation to the groups past discography. An outlandish touch ignites the earth-bound stellar components into bi-directional currents. Abstract electro-acoustic currents, coarse drone ambience and meditative rhythms guide onward on the pathway eating itself. Telemorphic-statues are burning, spectral-horizons collapsing into sub-atomic states which linger omnipresent among the threads of blooming semblances. Prism-like petals wither into immaterial gorges of power. Guardian's tonguing stare churning the revealing paralogies. Trance feasting the entrance. This is archaic dronumental Temple Music in its purest form. Total time: 43:41. The regular edition of 444 copies is housed inside a hand finished cardboard covers including an eight panel booklet." [label info] www.auralhypnox.com	2014	€13.00
AKERLUND, LARS	Xenon	CD	"Swedish composer Lars Åkerlund releases Xenon, his second album on the Firework Edition Records label. Xenon is based on recordings of machinery and activities of everyday life. The sound has been analyzed, treated and reconstructed; building a new framework. Xenon is a chemical element that occurs in the Earth's atmosphere. Some of the properties of xenon are anaesthesia, transposition and levitation. Anesthesia is the condition of having sensation blocked or temporarily taken away. The speed of sound in xenon gas is slower than that in air. Xenon lowers the resonant frequencies of the vocal tract when inhaled. This produces a characteristic lowered voice timbre (an effect opposite to the high-timbred voice caused by inhalation of helium). Xenon gas at high pressure has a density exceeding that of some solids and can be used to levitate objects through buoyancy. These features relate to ideas that were important during the process of making this music. Curriculum Vitae: Lars Åkerlund is a composer and performer of electronic and computer music. Starting as a guitarist he increasingly got more and more involved into the contemporary art scene of the 90's and was one the founding members of the Lucky People Center (LPC) and has since then been working in collaborations with other artists, choreographers, and filmmakers as well as a solo artist. Lars Åkerlund's work includes solo electronic music, live-electronics, instrumental music, films, videos and performance. Discography Some previous releases: "Ur/Volt", Lars Åkerlund (FYCD 1028) 2008 "Rivers of Mercury/Via Styx", Lars Åkerlund (FER 1025) 2001 "Welcome to Lucky People Center", LPC (MNWCD 234) 1993." www.fireworkeditionrecords.com	2011	€13.00
ALDINUCCI, GIULIO & THE STAR PILLOW	Hidden	CD	We are pleased to announce a very special collaboration between two very special north Italian artists: Giulio Aldinucci and The Star Pillow aka Paolo Monti. Two artists who are very active since the last few years, both with a very elaborate focus on ambient music. The result of this collaboration is called Hidden. A very intense, intimate, minimal and mindblowing four track album, focusing on field recordings, electronic sounds and guitar drones. The mixture of those ingredients brings something very beautiful to life. As we are big fans of both artists, we never had thought that a collaboration of Aldinucci and Monti would bring such a metamorphosis to the soundcosmos of both artists. Just when you get an idea of the album after hearing the first track “To Be Invisible”, the second track “Hypothesis For An End” takes you on a 27 minutes long mesmerizing and intoxicating trip with a beautiful worked out climax. After that you need the following tracks to calm down. A perfect weight of electronic sounds and very calm and gentle played guitar, all mastered by Antonio Gallucci. A floating and buzzing masterpiece. “Hidden” comes in an edition of 200 copies with a matte finished 4 panel artwork, featuring cover artwork by Giulio Aldinucci. https://thestarpillow.bandcamp.com/album/the-star-pillow-giulio-aldinucci-hidden	2018	€13.00
ALE HOP & LAURA ROBLES	Agua dulce	LP	On April 7th the Berlin-based Peruvian musicians Alejandra Cárdenas, AKA Ale Hop, and Laura Robles present their debut album together, released via Buh records. With a foundation informed by decolonialism and organology, ‘Agua Dulce’ is a radical deconstruction of traditional rhythms of the Peruvian coast, in which the cajón instrument plays a central role. ‘Agua Dulce’ is named after the most popular beach in Lima, near where both artists lived during their childhood, houses apart, without ever meeting one another. Now, years later, the pair have joined forces, with Robles on a self-built electric cajón and Cárdenas on electric guitar and electronics. Together they explore rhythmical structures that form the backbone of the complex Afro-Peruvian music and dance traditions – a broad term used for the various musical developments that occurred in the last two centuries, at the shores of the Peruvian Pacific. The cajón originated in coastal Peru as a percussion instrument that the black slaves created from wooden fruit boxes, when foot drums were banned at the end of the Spanish colonial-era, in the 19th century. From its birth the cajón was a symbol of resistance, experimentation and transformation, so Robles and Cárdenas strive to maintain the instrument’s spirit and qualities by pushing the boundaries of its sound into the future. However, although buzzing with an intense voltage and proffering a fresh contribution to modern experimental/noise/low fi/percussive music, the duo’s mission isn’t merely capturing something sonically futuristic, but is primarily concerned with shaking off the dust: “These rhythms have become ossified nowadays, heard in Peruvian folklore shows, and on the ‘global music’ circuit, but our desire is to experiment and do something more radical with them, connecting to the instruments more radical past”, comments Cárdenas. The two musicians take the pulses of dances like Landó, Zamacueca, Festejo, Alcatraz, Lamento and Son de los diablos, electrifying and mutating them into pure textures, or reinforcing the physical character of the cajón through repetition and distortion. The LP began with recorded improvisations between the duo at Ale Hop’s studio, which she then edited, adding synths and more guitar. Following that it was performed live for the Heroines Of Sound festival, accompanied by the dancer/choreographer Liza Alpiźar Aguilar, which was described as “nothing short of amazing” by The Wire. Following the show Cárdenas added further edits and post production, resulting in the finished article. ‘Agua Dulce’ is published through Buh Records, on all digital platforms and in a vinyl edition, limited to 300 copies. Cover Art by Eduardo Yaguas. --- Ale Hop is an artist, researcher and experimental musician. Her work includes live shows, record releases, sound and video artworks, research on sound and technology, and original music for film and dance. Her live performances merge the physical qualities of music with raw emotional states. She builds layers of sounds by blending a complex repertoire of guitar techniques processed by synthesis devices, to create a music of deep physical intensity. She came up in Lima's experimental underground during the 2000s, and currently resides in Berlin, where she caught the attention of the city's electronic scene, with her visceral live guitar performances, in which she loops out layers of sound, creating densely woven atmospheres. She has recorded mixes for Crack magazine and The Wire, and performed and exhibited work at Unsound, Rewire, Boiler Room, HÖR, New York’s Museum of Arts and Design and Somerset House. Her previous album, 2021’s ‘Why Is It They Say A City Like Any City?’ featured contributions from KMRU and Concepción Huerta, amongst others. alehophop.com Laura Robles was born in Swaziland and grew up in Lima. She is a percussionist and bassist formed from a very young age in the rich Afro-Peruvian and Cuban musical traditions. Her approach to jazz, funk and free improvisation is informed by the rhythmic elements of Latin American popular music. Robles founded the socio-educational initiative Parió Paula’. She has played with theater and dance companies and renowned folk, jazz and rock musicians worldwide, as diverse as: Maria Schneider, Christian Weidner, Almut Kühne, Pablo Held, Niels Klein, Ensemble Neue Musik Zürich, WDR Big Band, Christian Steyer, Wanja Slavin and Steffen Schorn. Laura lives and works in Berlin. In 2022 she was nominated for the German Jazzpreis award in the drums/percussion category, and in 2014 she won Berlin’s Studio Prize in with her band Astrocombo. She is reputed to be one of the best cajón players in Peru. https://alehop.bandcamp.com/album/agua-dulce	2023	€21.50
ALIO DIE	Under an holy Ritual	LP	Wiederveröffentlichung der ersten ALIO DIE-CD von 1992 in einer schönen Vinyl-Edition !! "First time on vinyl this amazing Alio Die masterpiece..., a milestone of ritual ambient music!!! "Under an Holy Ritual" was his first CD, released on his label Hic Sunt Leones in 1992 and re-released on Projekt in 1993, was received with international acclaim. "Natural and acoustic sounds and selected noises, electronically treated and reworked, are integrated in a meditative and spiritual context that often, in the feeling, becomes close to a prayer. Visible static, this music is rich of hidden sounds, layers of elements to discover at each listening. Alio Die's music, in the consciousness space that creates, it's a melting of technology and mysticism, like a new ritual with echoes of a medieval time, deep and grounded in introspection." Ghostly incantations from the void, subtly shifting frequencies and moods... Stefano Musso has menaged to resurrect unsettling sounds from a pre-Middle Ages epoch and merge them into a pastiche of gripping, evocative pastures. One might be prone to labelling Alio Die as quasi-active ambient music, but that has become a word so bandied around these days that in this case the meaning far from concise. Alio Die presents in his first seminal work, his personal interpretation of atmospherical music... Stefano Musso studied art and electronics in his home town of Milan, Italy, and began performing ambient, electro-acoustic music under the name Alio Die in 1989. Characterized by evocative acoustic sounds manipulated and tendered electronically, Alio Die's work builds intimate soundscapes tied to the mystery and majesty of life and nature. His first CD "Under an Holy Ritual", released on his label Hic Sunt Leones in 1992 and re-released on Projekt in 1993, was received with international acclaim. He subsequently released more than 25 CDs, and collaborated with many well-known artists such as Robert Rich, Vidna Obmana, Mathias Grassow, Nick Parkin, Yannick Dauby, Amelia Cuni, Raffaele Serra, Ora, Antonio Testa.” [label info] “Multi-layered sonic densities that can evoke the air of ancient storms one minute, then ebb like an immense black ocean the next. This knows how to alter moods with both thick electronic pulses and prehistoric scrapes of mysterious percussions. Cerebral, spooky, and thought provoking meditative/ambient music that harkens from a ritualistic viewpoint." [I/E Magazine]	2006	€15.00
ALIO DIE & DIRK SERRIES	The Chapters of the Eclipse	CD	THE CHAPTERS OF THE ECLIPSE reveals layers of eternity in each phase like a moon bath vitalizing luminous patches in expanded and contemplative dronescapes. The meditative and minimalist electronic ambient sky is suspended at the interval for liberation from the shadows of becoming: life in its most essential orientation. THE CHAPTERS OF THE ECLIPSE is the new musical union of Italy’s Alio Die (Stefano Musso) and Belgium’s Dirk Serries (vidnaObmana) which, more than twenty years after their previous collaboration (ECHO PASSAGE, Projekt 1999), contains three compositions in a suspended airy, majestic succession. These liquid soundscapes create an elegy of pure sonic beauty. “It offers no possibility of interpretation,” writes Musso, “because the involvement is complete, and immersion presupposes nothing more than being immediately part of the floating of the cosmos in the glow of its impersonal nature. Eight years in the making, this new creation radiates the wave that accompanies the explored space; it’s a telescope on eternity in a contemplative offering which is an impulse towards the very essence of the inner light.” THE CHAPTERS OF THE ECLIPSE imparts passage to a realm of transcendence, a reflection on life while absorbing the beautiful harmonics of these essential dronescapes originating from electric guitar, zither and processing. BIO Alio Die is the name of Stefano Musso’s shimmering, expansive dronescaping solo-project. Musso began work under the name in 1989 and has released over 70 albums including fruitful collaborations with artists such as Robert Rich, Vidna Obmana, and Amelia Cuni. His personal musical signature is a hybrid between sonorous soundscapes and acoustic mysticism: a shadowy, cavernous, intensely detailed fusion of acoustical elements, sample treatments, sparse, echoing percussion, and deep, atmospheric sound design. Dirk Serries is an experimentalist and foremost guitarist active since 1984, known for his vidnaObmana project and now extremely prolific in the free improvisation/free jazz scene with his own label and many different collaborations. The comings and goings of the sounds embrace and involve rather than describe; it develops sensations which we no longer hold back, while the sound textures flow continuously in the sensitive moments. https://projektrecords.bandcamp.com/album/the-chapters-of-the-eclipse	2022	€15.00
ALIO DIE & SYLVI ALLI	Amidst the Circling Spires	CD	"Amidst the Circling Spires is a captivating electro-ambient journey into an interior space, weaving visions of strong emotional impact. Sylvi’s heavenly voice drifts within the highly processed acoustic sounds created by Alio Die: a hybrid between – sonorous soundscapes and acoustic mysticism. The treated tones are an essential magma – organic and animated – luring the listener in like an ancestral call or an ancient saga. The loops, played with carillon, kalimba, zither, different objects and field recordings, blend into finely-detailed layered and treated. Sylvi’s voice is intense and moving, evanescent and precise – each song a mantra exploring a unique soundworld. Her vocals interact deeply with the melodies and atmosphere of Alio Die as they weave together like dark roots underground. The ecstatic and ritualistic landscapes that these artists offer shine with a magic all their own – giving rise to a multiple array of meditations perfectly mixed with unique pathos and abstraction." [label info] www.aliodie.com	2014	€15.00
ALTERNATIVE TV	Direct Action (special edition)	CD	Since their formation in 1977 Mark Perry’s group Alternative TV have moved far away from their more direct punk rock beginnings into all manner of other areas of music that have sometimes themselves drawn from improvisation, free jazz, industrial and electronic music. On 'Direct Action', Alternative TV’s first studio album since 'Opposing Forces' in 2015, we are presented with six instrumental tracks which steadily rip apart all expectations as they shed all allusions to rock music in favour of the kinda sonic mutilations that once helped 1979’s classic (and Nurse With Wound list endorsed) 'Vibing Up the Senile Man (Part One)' stumble into weird and wonderful shapes. 'Direct Action' marries guttural electronics to sounds most artists would consign to the bin and through Perry’s long perfected mastery of pulling together disparate strands to create something entirely alchemical and invigorating delivers a unique stamp to the ATV story. With the help of longtime collaborator Dave Morgan alongside the input of Gareth Matthews, Ruth Tidmarsh and Cos Chapman, abstract patterns of dishevelled sound rub alongside occasional percussion, disembodied plasma guitar strums and even what seems like an oboe groaning in a murky corner. Similar to its distant cousin of 'Vibing…', everything adds up to a whole that’s demanding yet completely rewarding as every listen prises open the dark scab of contemporary malaise to reveal something fresh. The front cover’s homage to the special edition reissue of an incredible album by a pioneering electronic group we are not going to name should in itself point to the unpredictable nature of the music here. If you are savvy enough to get that reference, then you’re on the right path to understanding where 'Direct Action' resides. Easy listening this ain’t. This CD features an exclusive bonus track not released anywhere else. Limited to 400. Released late March 2025.	2025	€15.00
ALTIERI / BALESTRAZZI / BECUZZI	In Memoriam J.G.BALLARD	CD	"James G. Ballard (1930-2009) was one of the most important and brilliant contemporary writers and his death has left a big cultural void. The influence of Ballard’s aesthetics has produced on millennium-end generations a true cult, inspiring artists and art-works in all disciplines. Yet nobody, until now, has decided to dedicate an entire work to his memory. Thus, by mutual agreement, Corrado Altieri (Candor Chasma, Monosonik, TH26 ..), Simon Balestrazzi (TAC, Kino Glaz, Candor Chasma, Dream Weapon Ritual ..) and Gianluca Becuzzi (Limbo, Pankow, Kinetix ..), have decided to dedicate this album to the master of post modern literature and his work. The nine tracks of that album take their titles from so many Ballard novels, trying to recreate his special visionary mood into music. A universe ruled by free dreaming associations: eroticism, technology, consumerism and cruelty mingle together to create a new perception of reality. A constant dialectic between micro-events and macro-rumorism, between digital pointillism and white noise, in between static drones, fluctuations, shifts and sudden changes of scenery. The changing environment is producing sound architectures where the organic and the inorganic are no longer self-conscious, casting vague on each other. The Marilyn Monroe hologram projected on the wall of a motel near an airport is sexier Than the original. James Ballard is dead, long live James Ballard. This is best Italian Industrial in good old-school mood ! Tracklist : 1. Running Wild 2. Crash 3. Interlude One 4. The Drowned World 5. The Atrocity Exhibition 6. The Crystal World 7. Interlude Two 8. Concrete Island 9. High Rise " [label info] www.oldeuropacafe.com	2012	€13.00
ALTIERI, CORRADO / GIANLUCA FAVARON	The System of Objects	CD	"Silentes presents a new collaborative effort between two prominent artists of Italy's electronic and experimental scene, Corrado Altieri (Candor Chasma, Monosonik, Uncodified) and Gianluca Favaron (ab'she, Under The Snow, Z'been). Inspired by Jean Baudrillard's essay of the same name, "The System of Objects" offers seven compositions combining field recordings, analogue textures, computer music and concrète sounds. Altieri e Favaron dig deep in the unconscious of the french philosopher, devising a hypothetical music score of his manifesto on the relations between objects universe and consumer society ideologies: drones and digital pulses, processed tapes and multi-layered frequencies make for a voyage to the borders of ambient, noise and radical experiments." [label info] www.silentes.net "Releases on Silentes are getting a bit more sparse these days, perhaps because of the economic tide etc, but I am also happy to note that they do more and more LPs. However the first new one is a CD with Gianluca Favaron on computer and one Corrado Altieri, who gets credit for electronics and tapes. Favaron is a man whose work appeared a lot on Silentes (as we'll see here too), and I never heard of Altieri. The eight tracks on 'The System Of Objects' are relatively short: the whole album doesn't last more than thirty-five minutes and it's inspired by the book of the same name by Jean Baudrillard. In much of Favaron's work ambient and drones play an important role, even when they are created with the use of the computer. In this particular work however we find him in a somewhat more noisy role, owing more to musique concrete than to ambience. The whole thing has some heavily treated acoustic feel to it, creating seven quite densely knitted pieces of electronic music. Be this field recordings, be this acoustic sounds created with contact microphones, or whatever else, it's treated into great monolithic blocks of sound. In only a few pieces this kind of minimalism is left behind and more things happen at the same time, such as in the opening piece 'Objects And Time 1'. An excellent release of highly vibrant electronic music. Quite raw and intense, exactly the kind of noise I like. Not meaningless and pointless carrying on forever, but seven sharp, contrasting blasts." [FdW/Vital Weekly]	2013	€12.00
ALU	Autismenschen	CD	Späte Veröffentlichung des ersten, bisher unveröffentlichten Album von 1980 von dieser deutschen Paranoia-Elektronik / „New Wave“-Gruppe, die aus zwei der drei Mitglieder der Krautrockband SAND bestand (deren LP „GOLEM“ auf World Serpent wiederveröffentlicht wurde!) . Liner-Notes von DAVID TIBET! “About the band: Alu was a seminal German synth-punk band active 1979-83. This CD is their unreleased first studio album from 1980. This is the unreleased first studio album by one of the pioneering German synth / electronic projects. Liner notes by David Tibet. The project of some of the members of Alu were in prior to Alu, Sand, enjoyed a fantastic revival a few years back (thanks in great part to David Tibet). Unearthing this release will bring much joy to anyone interested in the pioneering sound of German electronic music from the late 70s to mid 80s. Alu released two live LPs, a 7", and a small quantity of cassettes; all of these releases are, tragically, out of print. For those to whom Alu is a new name, comparable audio would be Suicide, Throbbing Gristle (circa 20 Jazz Funk Greats), Esplendor Geometrico, or Algebra Suicide, not to mention myriad electronic German bands who existed concomitant to Alu and have enjoyed recent reissues of their own, including Phonophobia, Die Todliche Doris, and Thorax-Wach. Labels with similar artists include Zick Zack and Twisted Knister. For the young'uns who like Wolf Eyes, this may be considered a worthy ancestor... Alu was born from the ashes of the seminal project Sand, whose releases were issued a few years ago through the persistence and passion of David Tibet. Not coincidentally, David Tibet also provided liner notes for this release. This release comes with a booklet of lyrics (in German), photos, plus a short biography (in English) of the band. Translations of the lyrics and other information on the band will be up soon at their recently created website, alugenerator.com. “....you may call me a retro freak, I prefer the old stuff, like Alu, or The Screamers or Suicide, with whom Alu has in common that they both combined the speed and energy of the punk rock, combined with analogue synthesizer stuff. Some of the more lengthy pieces, such as 'Halt Dich Fest' sound, with lenghty guitar doodlings show their krautrock background, but Alu is at their best in their shorter pieces: a screamy voice, full of doomsday paranoia, a continuous rhythm-box, simple melodies on the organ and guitar in a distorted mood. The real stuff that can't be beaten by a groove-box and microphone. The best re-discovery of 2005!” [FdW / Vital Weekly]	2005	€20.00
ALVA NOTO FEAT. MARTIN L. GORE & W. BASINSKI	Subterraneans	12inch (45rpm)	NOTON is pleased to announce the release of Subterraneans, a collaborative EP featuring Alva Noto, Depeche Mode’s Martin L. Gore and William Basinski’s cover of David Bowie’s homonymous song. Recorded in 1975, Subterraneans is the closing song of David Bowie’s 1977 album Low. The composition was initially intended for the soundtrack to the 1976 science fiction drama film The Man Who Fell to Earth. This song has a personal meaning to me. It was partly recorded in West Berlin at the Hansa Studio. According to Bowie, “Subterraneans” refers to the people who remained in East Berlin and lived in East Germany after the wall was built. In 1977 I was twelve years old and among the “Subterraneans” the song evoked. It still resonates within me, forty-five years after its original release.” – Carsten Nicolai A tribute of the three artists to Bowie’s work, the EP features an instrumental version and an edit by Alva Noto on electronics with Depeche Mode’s Martin L. Gore on the vocal and William Basinski on the saxophone.  Composed by David Bowie Cover art designed by Carsten Nicolai Mastering by Bo @ Calyx Credit: Alva Noto (Electronics) Martin L. Gore (Vocals) William Basinski (Saxophone)	2022	€18.00
AMBARCHI, OREN	Destinationless Desire	7"	"Electric guitars, organ, samples, bells, percussion and motorised cymbal recorded at BJB Studios, Sydney with additional overdubs made at home 2005-2007. Gratitude to Fairport Convention and Boris D Hegenbart. This is the 5th in the series of Touch Sevens - 7 vinyl only releases. 7 vinyl was the quintessential format for popular music. Today, it is an undervalued and mostly promotional medium, used as a fetishistic signpost to a time of musical authenticity and a healthy popular culture. It might seem like another retrograde step to launch a vinyl series just as the download format threatens to dominate, and indeed there is an element of the rear view mirror... the generation of Touch artists who grew up with vinyl [and cassette] still feeling a strong emotional attachment to it. This series is more than that... an overtly critical, non-digital statement is supported by treatments of audio work which cannot be applied to digital formats - the sonic texture, the use of a locked groove, the A & the B and the additional dimension of the visual counterpoint. As for the aspect of audience participation, we choose not to specify the RPM on the label, encouraging the listener to experiment with playback options and personal preferences. An attempt to make music that works at both speeds. The front cover might actually be the back cover..." [label info] "...Using electric guitars, organ, bells, samples, percussion and motorized cymbal (!), Ambarchi has created to dramatically different pieces. The A side is a woozy, washed out underwater sounding loopscape, peppered with record crackle (unless that’s coming from the record player, either way, it sounds great!), like a slightly jauntier, less melancholy Oval, major key melody, all softly sunshine- y, a dreamily hypnotic stretch of soft swirl that could go on forever. The B side is much darker, long streaks of shimmery low end beneath haunting slowed down vocals, mournful and mysterious, the vocals and the guitar drift and shift, all wound up in and around each other, throughout, bits of electronic glitchery, smears of muted buzz, snippets of conversation and dialogue, but all that stuff seems to be woven into an undulating backdrop for Ambarchi’s ghostlike disembodied blues. As always, packaged in super striking thick matte sleeve with gorgeous photos and layout from Touch head honcho Jon Wozencroft." [Aquarius Records review] www.touchmusic.org.uk	2008	€7.50
AMBARCHI, OREN & MARTIN NG	Fateless	DVD	"Asphodel's premiere DVD release features the Australian duo, turntablist Martin Ng and guitarist Oren Ambarchi in collaboration with visual artists Tina Frank and Robin Fox for an AV expedition into the sublime and fascinating worlds of Fateless. Since their teens, the Australian electronic composers have produced with congruent obsessions in mind. Their convergent interest in weird sound led to a long-lasting, musically productive friendship. In the summer of 2000 after Ambarchi's own What Is Music Festival, the two began formally producing together as respite from what they refer to as 'a particularly long hot summer of antipodean improv noise fests.' Like the harmonic meditations, space is filled with bold resonance, expanding and contracting in tandem with Tina Frank and Robin Fox's visual interpretations." NTSC: 0; Stereo + 5.1; 4:3 ratio. Total running time, 84:19." [press release]	2006	€18.00
AMENRA / CAVE IN / MARISSA NADLER	Songs of Townes van Zandt Vol. III	LP	listen: https://neurotrecordings.bandcamp.com/album/songs-of-townes-van-zandt-vol-iii Neurot Recordings in conjunction with My Proud Mountain announces the third record of the Songs of Townes Van Zandt series, which was started in 2012, featuring various artists covering the works of beloved American singer-songwriter Townes Van Zandt. Songs of Townes Van Zandt Vol. III features new renditions of nine classic tracks as interpreted by AMENRA, CAVE IN, and MARISSA NADLER. Steve Brodsky of CAVE IN stated about being part of the record, “In the winter of 2010, I did a solo tour with Scott Kelly of Neurosis and Bob Wayne. It was the three of us and Ansgar Glade traveling in Bob's ‘green machine’ van around the UK and Ireland. At every show, Scott played the song ‘Caroline’ and each time I heard it, I found myself enraptured. This was my introduction to Townes Van Zandt. Pretty cool that ten years later, Ansgar has given me and CAVE IN this great opportunity to show our love for TVZ's music.” Lennart Bossu of AMENRA says, “Being Belgians, the very American folk and country of Townes Van Zandt is not exactly the music we grew up listening to, but upon discovering his songs in our early twenties, they immediately struck a chord with us. Even people who do not understand the lyrics can probably tell that they are listening to someone who has lived and suffered, and, oddly enough, at the same time find deep comfort in his soothing voice. It is the kind of comfort that often defines great music or art in general, and it made the prospect of trying our own hand at a few of his songs no less daunting. Nonetheless, when we were asked to be part of this collection of Townes Van Zandt cover songs, we felt excited and compelled to be part of it, as, in a way, it offered us a chance to do something in return for the great songs he has given us, and also be a part of a series of albums that are almost exclusively comprised of artists we deeply respect.” Marissa Nadler offers, “I’ve been a fan of Townes Van Zandt’s music for nearly as long as I’ve been writing songs. When I was starting out, a friend introduced me to Townes’s music, and I pretty much instantly fell in love with both the rawness of his songs as well as the intense sense of longing expressed within them. His lyrics are haunting and evocative and have inspired me endlessly. These melodies will linger with you, year after year, and hopefully keep you company along the way.”	2022	€25.00
AMINI, SIAVASH	A Mimesis of Nothingness	LP	"Siavash Amini returns to Hallow Ground with A Mimesis of Nothingness, his fourth album for the Swiss label. Following up on Harmistice (HG 1902LP, 2019) together with fellow Iranian artists 9T Antiope, the six tracks were conceived in close collaboration with another artist and see the prolific composer intensify his interdisciplinary approach. The six tracks enter a dialogue with the photographs of Nooshin Shafiee, an acclaimed artist whose work capturing their hometown Tehran becomes the starting point for one of Amini's most visceral and haunting records. A Mimesis of Nothingness translates the ephemeral situations and melancholic moods of Shafiee's pictures into suspenseful soundscapes that masterfully navigate between the concrete and the abstract. A Mimesis of Nothingness is a disquieting record precisely because it is a quiet one. Working with field recordings, Amini sculpts dynamic portraits that create an atmosphere of tangible suspense that is never fully released. Even when string-like sounds enter the picture as they do on the third track "Moonless Garden" or when the abstract and glacial noise on "Observance (Shadow)" demand the listener's attention, the six pieces take hold of the subconscious rather than trying to be direct and confrontational. It is sound conceived not as a description, but a circumscription of spatial relations and the eeriness embedded in them. Includes eight-page booklet." "Zu den interessantesten Versuchen, einen Ort im künstlerischen Medium, sei es Bild, Text oder Klang, erfahrbar zu machen, zählen jene, die den Blick auf eher untypische Aspekte lenken. Ein solcher Fokus richtet sich an ein aktives Publikum, das die präsentierten Details mit dem vorhandenen Wissen zu einem kaum festschreibbaren, hypothetischen Rahmen synthetisiert, und er umschifft ganz nebenbei eine Menge Klischees. Das ganz seiner Heimatstadt Teheran gewidmete neue Album von Komponist und Producer Siavash Amini befasst sich mit Details des Ortes, die zunächst wenig zu den Projektionen passen, die der Medienkonsument abrufen kann, seien diese den Nachrichten oder den Resten eines verklärenden Orientalismus geschuldet. Amini, den Leser unserer Seiten sicher von seiner Zusammenarbeit mit 9T Antiope kennen, ist zudem ein leidenschaftlicher Kollaborateur, und so ist „The Mimesis of Nothingness“ erneut eine Gemeinschaftsarbeit, diesmal mit der ebenfalls in Teheran lebenden Fotografin Nooshin Shafiee. Amini und Shafiee trafen sich vor einigen Jahren zum ersten Mal in der Emkan Gallery im mit diversen Art Spaces gespickten Zentrum der Stadt. Sie stellte dort gerade eine Reihe digitaler Fotografien aus, während Amini im Raum nebenan Soundevents organisierte. Aufgrund ihrer gemeinsamen Ansätze – ein Sinn für Raum, fürs Fragmentarische und Experimentelle – ließ die Idee zu einer Kollaboration nicht lange auf sich warten, und so wurde der Grundstein zu „A Mimesis of Nothingness“ gelegt: Die Stadt sollte sich quasi selbst porträtieren mit wie zufällig aufgeschnappten “nichtigen” Objekten und Soundschnipseln, aber auch mit der diffusen Atmosphäre, die sie zu erzeugen weiß. Die beiden Künstler sollten dabei mehr wie Medien fungieren, durch deren Ohren und Augen der Ort spricht. Dass Teheran dabei weder als romantischer Sehnsuchtsort, noch als Schauplatz weltpolitischer Konflikte erscheint, mag mit einigen westlichen Vorstellungen brechen, den Nerv der Einheimischen trifft das aber sicher umso mehr. „A Mimesis of Nothingness“ führt sein Publikum in ein Teheran, durch dessen Häuserschluchten und Alleen, über dessen weite Plätze, Parks, Fabrikgelände und Ruinen ein eisiger Wind weht, ein Wind, der Hagelklötze und Staub und Erinnerungen transportiert und all dies sprunghaft in die unterschiedlichsten Richtungen weht. In den Fotos mag die kühldunkle Atmosphäre impliziert sein, im langsam heranschleichenden Dark Ambient-Sound Aminis ist sie mehr als deutlich im gesampleten Wind und Regen zu hören, und doch scheint dies und das Echo undefinierbaren Donnerns und Detonierens eher das Innenleben des Ortes und seiner Bewohner wiederzugeben. Auf den Bildern sind Objekte zu sehen, die Kontext und Charakter erst beim genaueren Hinsehen implizieren: Zeltplanen, Vorhänge und andere ausladende Textilien kehren leitmotivisch wieder in den dunkel ausgeleuchteten Tableaus, hängen auf Wäscheleinen oder bedecken Treppen, Möbel und manchmal auch den ganzen Schauplatz, und alles, was unter ihrem Stoff verdeckt wird, wirkt außer Betrieb, im Standby, und jede direkte menschliche Präsenz würde deplatziert wirken. Die Musik und die Bilder arbeiten (auch) immer wieder sehr stark mit dem, was sie gerade nicht präsentieren. Immer gibt es Aussichten auf ein diffuses Dahinter, auf Baum- oder Häusergruppen, diffuse Übergänge auf weitere Räume sind zu sehen. Wohin führen diese Öffnungen, Wege, freien Flächen, was ist oder passiert dahinter oder daneben? Die Frage nach dem größeren Rahmen des nur ausgeschnittenen Raumes ist so evident wie ein eingeblendeter Schriftzug oder eine Stimme aus dem Off. Auch bei den kreisenden, rauschenden, rumpelnden Bewegungen der elegant gestalteten Musik kommt immer wieder die Frage nach dem Was, dem Woher und dem Wohin auf, doch geheimnisvoll ist das Szenario nicht nur wegen des fragmentarischen Charakters und der nur gelegentlich ortbaren Sounds, sondern auch wegen des immer wieder Spannung überzeugenden Wechsels von melancholischen und harschen, gewaltsamen Passagen, die meist recht plötzlich in Form bohrender Loops oder eisiger Lärmlawinen einbrechen. Die Streicherparts im unromantisch betitelten “Moonless Garden” halten die schönsten, aber auch die desolatesten Momente des Albums bereit, und letztlich sind es doch die Anzeichen des Lebens, die die Szenerie auflockern: zeternde Vögel, deren Krächzen keineswegs betulich wirkt, Schritte, die von einer tiefernsten Klangfläche begleitet eine Treppe herauf oder herunter gehen, gegen Ende sogar menschliche Stimmen, die den Hörer sofort, trotz Sprachbarriere, in einen anderen kommunikativen Modus bringen. An der meist nur bedingt fassbaren Stimmung, die selten mit derart klaren und eindringlichen Mitteln hervorgerufen wird wie hier, ändert auch das nichts – auf „A Mimesis of Nothingness“ fühlt man sich an einem unbekannten Ort ausgesetzt, den man über das zufällig vorgefundene erkundet. Wenn es so etwas wie ein Wesen eines Ortes gibt, so kann man dieses vermutlich so besser erfahren, als durch ein vorgefertigtes Set an Dingen, „die man gesehen haben muss“." (U.S.) AFRICAN PAPER africanpaper.com/2020/08/29/siavash-amini-the-mimesis-of-nothingness/	2020	€22.00
AMM	Live at the Roundhouse	CD	Unveröffentlichtes Material von 1972 von der legendären Truppe um EDDIE PREVOST ! “The International Carnival of Experimental Sound, or ICES '72 for short, was an ambitious festival sprung from the mind of Harvey 'Job' Matusow (1926-2002). Jumping off from his associations with the influential Source magazine, Harvey brought together over 300 artists from more than 21 countries to perform in London, England over the course of two weeks in August of 1972. Based on the theme of Myth, Magic Madness and Mysticism, he assembled an amazing diversity of performers working in diverse range of audio-visual arts. Encompassing happenings, films, dance, a train ride, and the phantom soft pool table, the focus was on sound -- specifically that of artists who were both composers and performers. Most of the concerts were held at The Roundhouse, a cavernous structure that was formerly a railroad engine house. Now, for the first time in 30 years, these recordings can be heard. This first CD in a series documenting the festival features the complete concert given by legendary free improvising group AMM. Represented here by Eddie Prevost and Lou Gare, they offer up powerful explosions of saxophone and drums punctuated with their famous AMM silences. This is the first time this material is available, aside from two short excerpts were published as the only 7" release on Evan Parker and Derek Bailey's Incus Records (and a very rare and desirable record that has become)." [press release]	2004	€14.00
ANTLERS MULM	Of Withered Sparks	CD	"Our hopes, our flesh, our tears... are draped like dead birds in the skies"... Different from most other LOKI-artists, ANTLERS MULM appears to be much more song-oriented, doing a kind of dark electronic pop-music, but very refined, minimal, deeply melancholic & quiet. Reminds us a bit on TWICE A MAN or TOR LUNDVALL at times, but with a much darker singing.. "The third album of ANTLERS MULM opts for deep resonating tones that are harmonious and hypnotic with a greater emphasis on percussion, and the massive foray into song based structures. Dark Beats and phantasmagorial Melodies are melting into an intense atmosphere guided by the outstanding voice of the father of shadows Hans Johm. Throbbing samples enriches this compositions to a homogenic masterpiece. These 10 songs are catching the mood of the warm feeling of being at home and creating a landscape of a coruscant kingdom that lies deep within the lyrical and musical expression. These tracks building melancholy on the most song based LOKI release ever - take a deep breath and get lost in this aural world of ANTLERS MULM. Limited digipack and vinyl version (222 copies) released in January 2008." [label info] www.loki-found.de	2008	€13.00
ANTONY & THE JOHNSONS	The Crying Light	CD	Drei Platten die wir auch mit Drone anbieten wurden vom PITCHFORK Magazin (zur Zeit wohl DIE Referenz im Alternativ-Bereich) zu den "besten Platten des Jahres 2009" erkoren: SUNN O)))s "Monoliths & Dimensions", JIM O'ROURKE - "The Visitor", und "The Crying Light". Zurecht, denn dies ist das Meisterstück des aussergewöhnlichen Sängers mit der fragilen Stimme und den herzzereissenden Arrangements! "Mit seinem dritten Album "The Crying Light" setzt der Songschreiber, dessen empathisch emotionaler Kopfgesang kein Geschlecht kennt, aber dafür die Tiefe menschlicher Gefühle, einen intimeren Fokus. Im Interview mit der britischen Musikzeitschrift "Wire" spricht Antony von einem "inneren Garten", dessen Mauern er nun überwinden möchte, weil es dahinter ja noch viel mehr zu entdecken gibt - "the landscape beyond my inner landscape". Es ist eine Meditation über das Paradies, das für Antony viel mit der Entfaltung der Natur und ihrem Formenreichtum zu tun hat. 30 Songs hat er in den letzten sieben Jahren für das enorm geschlossen wirkende "The Crying Light" geschrieben - und schließlich trotzdem nur zehn davon verwendet. Ein Prozess der Verfeinerung. Auch bei den Arrangements wurde alles Überflüssige gestrichen. "Dust And Water" klingt deshalb so pur wie schwebender Morgennebel, und hinter dem gesamten Album steht offensichtlich mehr eine suchende Zen-Haltung als ein exaltiertes Pop-Ego. "Her Eyes Are Underneath The Ground", der erste Song des Albums, weckt Erinnerungen an Schubert und das deutsche Kunstlied. Da ist vor allem Antonys Stimme, dazu ein sacht ertastetes Klavier und eine Ahnung von Violinen und Cello im Hintergrund. Erst ganz zum Schluss drängen sich harsche Bässe in den Vordergrund, wie Gewitterwolken an einem heiteren Nachmittag. "Epilepsy Is Dancing" tänzelt hoffnungsvoll und verspielt "One Dove" schält sich ganz langsam aus dem Nichts, wie viele Stücke hier. Später setzten Dissonanzen ein, mehr und mehr Instrumente tauchen auf und verschwinden wieder, bis nur noch seltsame Tierstimmen zu hören sind. "Kiss My Name" schwelgt dagegen in einem orchestralen Klang- und Melodie-Reichtum, der fast schon an Freund Rufus erinnert. Der Höhepunkt, "Another World", ist ein hellhäutiger Blues und ein banges Abschiedslied auf die Welt: "I need another place, will there be peace? I need another world, this one is nearly gone." Es folgt eine Liste der Dinge, die der Sänger in einer anderen Welt vermissen würde: die Bäume, das Meer, den Schnee, die Bienen und überhaupt alles, was wächst - "I'm gonna miss you all". "Aeon" mit seiner rauen Gitarre ist dagegen fast schon ein Rocksong, aber eben nur fast. Zu "The Crying Light" kann man nicht tanzen, und das Album gehört auch nicht zu den Platten, die einem mit packenden Refrains durchs eigene Leben helfen. Die Schönheit dieses bisher reifsten Antony & The Johnsons-Werks liegt darin, dass es nach der Seele sucht, wo andere nur in den Spiegel blicken. Ein Meisterwerk, eine andere Welt und ein Refugium für alle, die es zu schätzen wissen." [Jürgen Ziemer, Rolling Stone] "Zeitlos und doch aktuell: das lang ersehnte dritte Album. "The Crying Light" heißt das lang ersehnte dritte Album von Antony and The Johnsons. Auf "The Crying Light" legt Antony seinen Fokus auf ein neues Thema und gibt uns einen Einblick in seine Beziehung zur Umwelt. Der Album-Opener "Her Eyes Are Underneath The Ground" ist ein liebevolles Zwiegespräch mit Mutter Natur und Ausdruck des Wunsches, dass sie am Ende über ihre Zerstörung siegen wird - "no one can stop you now!" Darauf folgen der schwindelerregende Walzer "Epilepsy Is Dancing" und das herzzerreißende "One Dove", dessen detailreiche Instrumentierung Antonys Stimme - bildlich gesprochen - regelrecht umarmt. Mit "The Crying Light" ist Antony and The Johnsons ein zeitloses Meisterwerk gelungen, das uns die folgenschweren Entwicklungen in der Welt und unsere Rolle darin ins Bewusstsein ruft. Es kann zum Sinnbild dieser turbulenten Zeit werden; eine Momentaufnahme und ein Anstoß für uns alle, Courage zu besitzen und uns sowohl in unserem persönlichen Kosmos als auch in der Welt als Ganzes rücksichtsvoller zu bewegen." [Indigo] "ANTONY & THE JOHNSONS' breakthrough second album "I Am a Bird Now" won the UK's prestigious Mercury Prize in 2005. The success that followed introduced many to a pioneering soul singer unafraid to explore themes that traversed darkness and light, life and death, male and female. Antony's inimitable voice sparked the interest of artists ranging from Bjork to Hercules and Love Affair, resulting in a series of critically acclaimed collaborations. "The Crying Light" is the highly anticipated full-length follow-up to "I Am a Bird Now". Here, Antony shifts the thematic focus and explores his relationship with the natural world. The intimacy of the Johnsons' sound is enveloped by avant-classical composer Nico Muhly's symphonic arrangements. The record's centerpiece, "Another World" traces the singer's dispair in the face of a vanishing landscape. Antony and the Johnsons' music bridges the gap between avant-classical music and the blues, and the band's sold out performances have resulted in standing ovations from Carnegie Hall to the Apollo. "The Crying Light" is a soul-stirring new work with its daring compositions and captivating vocal performances. Antony and the Johnsons have created a subtle and timely work that brings a magical and yet changing world to the forefront of our consciousness." [press release]	2009	€16.00
APOLLON	Nox	CD-R	Another (so far, for us) unknown name on C. REIDERS CDR-label is APOLLON, creating distracting loop-ambience with strange samples & ethnic tunes, sometimes really hypnotic... 15 quite different tracks... worth checking out, reminds us on some works of BIG CITY ORCHESTRA. " 'Nox" is an ever changing tapestry of dark sound vignettes, with gritty and foreboding loops of ethnic percussion and smokey ambience, recalling the works of Zoviet:France and Muslimgauze. Apollon's Martin Lee-Stephenson has been working in the experimental "genre" for many years under different pseudonyms. He has been credited in some way, either as producer and/or artist with over 100 releases to date, including collaborative work with such well-known experimental artists as Muslimgauze and Pigface." [label info]	2003	€8.00
AQUA DORSA	Cloudlands	CD	Debut-Album des neuen Projekts von GIANLUIGI GASPARETTI (aka OÖPHOI) und ENRICO CONIGLIO, einem italienischen Gitarristen und Ambient-Komponisten. CLOUDLANDS tönt sehr friedlich & mit harmonischen Untertönen, mitunter leicht loopig-rhythmisch aber ohne Aufdringlichkeit, erinnert an ruhigere Sachen von RAPOON, etc.. Sieben Stücke von weiträumigen und weltabgewandten Ambient-Scapes... "...This is ambient music but then with a little bit more, and no doubt Coniglio is the man responsible for that extra bite. Not simply satisfied with 'just' ambient synthesizer textures, there is an addition from the world of microsound to this. Underneath the warm tapestries are woven of synthesizers playing sustained textured sounds, but the icing (pun intended) on the cake comes from the crackles, buzz and hiss that are on top of this. That makes that this music moves out of the usual ambient field, and blends together ambient and microsound, while, because its not entirely generated in the digital realm, its not entirely ambient glitch either. A marriage that works wonderfully well, I'd say. Deep atmospheric textures, icy glitches on top." [FdW / Vital Weekly] "Aquadorsa is a new musical Italian ambient project formed by Enrico Coniglio and Oophoi. Their first work “Cloudlands” is a perfect mix of glitch, classical and orchestral glacial ambient soundscape. Enrico Coniglio is a guitar player and composer and his research has increasingly focused on the relationship between 'music' and 'landscape', in an attempt to represent the contemporary crisis of the territory, the loss of nature and identity of places, and the unknown on the evolution of post-urban and post-industrial territory. He has collaborated with various artists, including: Nicola Alesini, Joachim Roedelius and Elisa Marzorati. He has produced some releases such as "AREAVIRUS - topofonie vol.1" (2007 Psychonavigation), "dyanMU" (2008 Psychonavigation) and digital releases Sapientumsuperacquis on Touch Radio (Touch records) and Crònicaster (Crònica Electronica). Gianluigi Gasparetti better know as Oophoi started his own music experiments in 1995, trying to explore the shores of deep space-ambient. His live album "The spirals of time", released in 1997 by Amplexus, has been voted as one of the best ambient albums of all times. Oophoi uses traditional instruments as synths and sampling machines and his music is recorded using analog-only devices in The Kiva. He has released CDs for many International labels such as Amplexus, Hypnos, Nextera, Prikosnovénie and Glacial Movements and he has collaborated with Louisa John Krol, Alio die, Mathias Grassow and Klaus Wiese." [label info] www.glacialmovements.com	2009	€13.00
ARCHETTI, LUIGI / BO WIGET	Low Tide Digitals II	CD	Zweiter Teil der Collaboration, wieder sehr dichte Stücke, atonal & dronig, dann aber auch dunkel „herausgespielt“ mit Gitarre, Cello, Electronics, und teils auch eher frickeliges Zeug, von diesen Urgesteinen der Impro & Psychedelic-Szene.... “Low Tide Digitals II is the sequel to this non-Norwegian duo's acclaimed 2001 debut album of the same name (RCD 2019). As with the debut, this is an Eno-esque, extremely fine-tuned mix of acoustic instruments and electronic elements. Switzerland-based musicians Luigi Archetti and Bo Wiget have created an album of sensitive, electronically-tinged free improvising. With cello, guitar and electronics, Archetti and Wiget weave a beautiful, detailed and fragile soundscape. Most see references to ambient, electronica and contemporary music but basically this release is beyond categorization. Archetti is a multi-media visual and sound artist, who has been active in both free improv groups and experimental rock since the late 1970s. Currently known as a member of the psychedelic group Guru Guru and also acclaimed for his work as a painter, Archetti has improvised with artists such as Urs Voerkel, Ellen Christi, Magikami Koichi and many others. Possessing a similar rock background, the last decade has seen Bo Wiget working with numerous improvisers including legendary Swiss free saxophonist Werner Lüdi, Czech singer/violinist Iva Bittova, and Japanese guitarist Taku Sugimoto.” [press release]	2005	€15.00
ARTIFICIAL MEMORY TRACE / GERALD FIEBIG / EMERGE / PBK	Fiction Circuit	LP	Artificial Memory Trace aka Slavek Kwi and PBK aka Phillip B. Klingler have been pillars of the global DIY experimental music culture for decades. Both of them have released work on attenuation circuit before. Here, they team up with label owner EMERGE aka Sascha Stadlmeier and his colleague Gerald Fiebig. Each one of the four artists contributes one track of about 10 minutes to the album. But while the four-way split LP is a common format in the global sound culture scene, “fiction circuit” is more than just a compilation. All of the artists on this album share a love of creating electroacoustic music from field recordings or found sounds. Therefore, label manager Stadlmeier invited Artificial Memory Trace (AMT) and PBK to supply source sounds from their archives. These were then used as the basis for the compositions. Leaving the source material identifiable was not the task – it was to be used as raw material to be sculpted, very much in the spirit of acousmatic musique concrète. On the AMT side, we find the tracks by PBK and Gerald Fiebig. They both used AMT's source material to create their tracks. PBK delivers a dense, rather rhythmic track with a decidedly “industrial” feel. Fiebig's track, on the contrary, uses the front cover artwork – a digital collage by EMERGE of visual works by Kwi and Klingler, with other works by them reproduced on the lavishly printed LP insert – as a graphic score for realising a rather harmonic ambient piece. On the PBK side, Artificial Memory Trace and EMERGE “play” the source sounds supplied by PBK. The piece by Artificial Memory Trace qualifies as exuberant rhythm noise, while EMERGE goes all the way into rather meditative laminar lower-case drone minimalism. Therefore, regardless of which side of the record one plays first (“AMT” and “PBK” are engraved on the vinyl itself to guide the listener), one will experience, thoroughout the whole album, a change between very different sonic textures and temperaments that showcase the wide range of expressive possibilities of electroacoustic music. This is not the product of good luck, but of planned collective composition: AMT and PBK, as the “guests” on the label, were invited to create whatever they liked without any formal restrictions. As it turned out, both of their works were rather intense and direct in character. Therefore, EMERGE and Fiebig both made an effort to complement each side with a more subdued, quiet piece. File under: Electroacoustic music, musique concrète https://emerge.bandcamp.com/album/fiction-circuit	2019	€18.00
ASHTORETH & PENUMBRAL AETHYR	Naiad	CD	We welcome Nicolas Van Meirhaeghe (Penumbral Aethyr) to our label for the first time, as well as the return of Peter Verwimp (Ashtoreth), who is no stranger to releasing with Winter-Light. These two well known Belgian artists of the dark ambient scene present us with new immersive ritual works. For this collaborative album, Ashtoreth and Penumbral Aethyr were inspired by the link between a number of mythological creatures from several ancient Cultures and their emotional representations. Like Boreas, the rough and cruel God of Wind, Cold and Darkness; Nephthys, Goddess of Birth and the Underworld; Ptah, the original creator God in ancient Enneadic Cosmogony and Naiad, the Water Elemental of the Earth. As such she can summon and control all water in her immediate environment and manifest herself from that source. Water is linked to the emotions and therefore they chose Naiad as the fitting moniker for their album. These recordings are steeped in deeply felt emotions and meditations on both personal and general reflections about the state of the world and our place within it. The Belgian duo composed these pieces using only hardware, electro-acoustics, voices and field recordings. No audio plug-ins were used for the recording of 'Naiad'. CD comes in a 6-panel digi-sleeve limited to 300 copies. credits Recorded, composed and produced by Nicolas Van Meirhaeghe and Peter Verwimp. Artwork, cover and design by Christel Morvan (Nesisart) Mastered by Ronald Mariën (Stratosphere) https://winter-light.bandcamp.com/album/naiad	2025	€14.00
ASIA NOVA [=ASIANOVA]	Magnamnemonicon	10inch	Die Nr. 2 in der neuen 10“-Reihe SUBSTANTIA INNOMINATA von Drone Records zum Thema „das Unbekannte“ ist von ASIA NOVA, dem US-Duo aus San Francisco mit URE THRALL: Experimentelle, dunkle ethno-ambience mit Frauengesang. Abgründig und ätherisch, gepresst auf pinkem / rot-weiss marmoriertem Vinyl ! “Info about this release SUB-02: ASIA NOVA is a project of Californian artist URE THRALL [ex VOICE OF EYE, etc.] and PAMELA PASSMORE with guest musicians. Paul Valsecchi and Marlon Porter "Magnamnemonicon" contains 6 parts of music spread on 2 sides, more than 30 minutes of material: The mind as an abyss of supressed memories. Voices & sounds arise from the own dark continent, materializing in strong emotions of loss & yearning for the un-reachable. The Unknown as an eerie entity in our selves? Artwork by Gregor Schultz. Red-white / pink marmorized vinyl in a first edition of 500 copies. 33 rpm. General info about this new series: „Substantia Innominata” is the brand new release-series from Drone Records. We are proud to present this as a 10” VINYL series along with subsequent re-releases on CD. This new series doesn’t focus on a special concept or ideology regarding the music, but on a certain theme. The theme for this 10” series is based on “The Un-known, The Un-nameable, The Un-speakable, The Un-thinkable, etc.: Various aspects related to “The Unknown”. Basically the grey matter (psychic or physical, which are bound to result the same) surrounding us / within us, but can’t be understood or recognized through the normal senses (though some may perceive it on a subconscious level). We could name it “The Unconscious”. The chosen name for this series, “Substantia Innominata”, was inspired to the fact that this Latin name represents a certain region of the brain which has unknown functions and remains a mystery for its role and existence. Therefore this name reflects well the intense fascination for this impalpable concept of “the unknown”. The invited artists for this series were asked to work around this theme, to let themselves be inspired by its abstraction. The artwork for this series will be created by the various visual & graphic artists. All in full-colour or silkscreen covers. The 10” vinyl pressings will come in an edition of 500 copies for each title.” [press release] www.substantia-innominata.de	2006	€12.00
ATKINSON, FELICIA & JEFRE CANTU-LEDESMA	Limpid as the Solitudes	LP	When is one plus one not two? When two paths converge and a new one appears. But what is this newly activated neural pathway? A Third Mind? In the 1960s, multimedia artist Brion Gysin cut through the words of a newspaper and rearranged them to reveal a new kind of truth contained within the words but not freed until his knife cut it loose. He described this as part of the Third Mind. Likewise, «Limpid As The Solitudes» cuts through sound-making techniques to enter a new zone of sonic revelations. If you had to look for musical precedents, you might say the record recalls the turn-of-the-century Mille Plateaux glitch era, the warmth of La Monte Young’s raga-inspired microtonal electronic «dream house» drones, a sense of adventure evident in the acousmatic non-space recordings made by GRM artists in the 1960s/ 1970s, 4AD’s floor gazing guitar sound circa Cocteau Twins peak, and blissfully diverse field recordings. But you could equally equate it with entirely different recording sources. «Limpid As The Solitudes» has a widescreen sound that is both familiar and unfamiliar. Warm, comforting and also unsettling in unpredictable ways. Deliberate yet exploratory. It’s a record composed of opposites and contrasts. Following historical guidelines yet also throwing them out of the window. It’s hard to tell if the process of creating it was more akin to abstract painting but it might possibly be easier to understand if it was a large museum painting (to steal a thought from David Stubbs). To describe the album as ambient would indicate a much too passive engagement with the sound – leave it to play in the background and you’ll miss a lot of the joy. Felicia Atkinson and Jefre Cantu-Ledesma describe the record as a series of postcards - «things and sounds that happen vertically as a slow ascension, vessels communicating in dreams.» In this collaborative recording, there is a feeling of «becoming» - things metamorphose - a concrete sound turns into a electronic sound that turns into a spiral-like melody which then furls / unfurls at the same time. The title of the album - «Limpid As The Solitudes» - as well as track titles, are all verses stolen from Sylvia Plath’s poems – Atkinson notes «like dropped pearls from a lost collar.» Trying further to capture the records poetic impulses she notes it’s reflects «Empathy to objects and nature’s elements, meteorological states, seasons that answer to your heart, granular etchings carved and sustained to create a blurred sentimental landscape.» But notes with a sharpness that «the finale is more optimistic than Plath’s poetry. Love and lyricism win, the music soaring from deep water to interstellar galaxies.» If you look at the cover, you’ll find another key clue - you’ll see an image created by photographer Julien Carreyn of a young women wearing destroyed jeans, playing with bubble wrap. The image is intended to give the viewer an eerie 1990’s feeling that echoes the recording. They note - «think films such as by «Trust» (Hal Hartley, 1990) or «Chuncking Express» (Wong Kar Wai, 1994).» They add «it’s the «ultra modern solitude» of characters lost in an early-digital urban vacuum, looking for a more time to wonder, a soul mate or just some compassion in the grey sky.» Among the many other references for this album is how Google Maps have created new digital perceptions of space, Gilles Deleuze’s examination of Alice In Wonderland, Andre Bretons poems and more films including the classics «Sacrifice» (Tarkovsky), «Passenger» (Antonioni) and «Last Year In Marienbad» (Resnais). To dig into the more of the ideas and sources behind this record you’ll simply have to talk to the duo. We simply cannot give you the full depth here. Be sure to come back to this record more than once - it’s then that it’s power will work - you’ll recall the sound of a lover, a garden you once walked through, an echo of a record you once loved. To be appreciated, «Limpid As The Solitudes» requires you to immerse yourself as if in a hot spring, letting the sounds float over you and alter your perceptions and memories.	2018	€18.50
ATRAX MORGUE	Close to a Corpse	do-LP + 2CD	On February 24, 2001 Marco Corbelli take part in the performance “Autopsia dell’opera d’arte vivente come vivisezione del corpo di dio” in the Viareggio art gallery, Studio D’Arte Memoria Indelebile. Together with three other artists he stages an autopsy on a shapeless body, which represents the living work of art. Corbelli actively participates in the pseudo autopsy, as well as sounding the live event. The recording of the sound performance will be released two years later on Slaughter Productions in an extremely limited box set titled Close To A Corpse consisting of three CDr. The first two CDr contain the complete live recording in the Tuscan art gallery. They are improvised synthesizer recordings, an infected and purulent soundtrack, which actually transports you to the mortuary of a corpse and you can smell its stench pervading your senses. The pauses between one burst of sounds and the other are just the introduction to the next nightmare! The third CDr contains ten wonderful unreleased tracks recorded in the studio in September 2002, apart from Basic Procedure Autopsy (recorded and released in 1995), without the use of vocals or other effects: just the faithful Sequential Circuits Six-Trak. Both the live tracks and those recorded in the studio represent the artist's sonic maturity and stand out from the rest of his discography for their eccentricity and the ability to make exceptional use of analog synthesizers, pulsating tones and enveloping frequencies by mixing a shocking atmosphere of hellish manifestation, where cruelty and compulsive disorders are more evident and interesting, showing Corbelli deeper work, pushing himself further into the experience of his concrete ‘’noise’’ vision. Comes in a double vinyl for studio tracks and double CD for live tracks, fully remastered by Andrea Marutti, is limited to 199 copies, reproducing the album’s original cover art and inserts. Close To A Corpse is an illuminating immersion into the remarkable potential of synth processes by one of the most exciting artists in the Italian industrial/noise field. Among the best of Urashima’s releases, it’s bound to blow minds and fly off the shelves.	2021	€36.00
AURAL HYPNOX	Underworld Transmissions	CD	Underworld Transmissions was Aural Hypnox label series, filmed and captured on tape in the private séances held in our subterranean lodge located in Oulu, Northern Ostrobothnia. The concept was to invite artists from the Helixes collective, in different combinations, to join a séance and to establish through sound and movement an elemental communication. In greater sense, apart from personal goals, these séances aimed to bring forth the seasonal currents of the lodge; the undertone of the Aural Hypnox label and the artists involved. Each séance was guided by a unique automatic-portal-portrait reflecting the planetary and stellar distances seen at that particular time in the lodge altar mirror-receiver. All audio was captured live on tape by using binaural recording technique. Films were captured during séances and also in the preceding and subsequent sessions that took place in Other Rooms and in the surrounding wilderness. The candles have been extinguished; transmissions completed.	2019	€14.00
B.E.F.	Music for Stowaways	LP	The first reissue of seminal early 1980\'s electronic recordings from the British Electric Foundation (B.E.F.), aka HEAVEN 17 / ex-THE HUMAN LEAGUE\'s Martyn Ware and Ian Craig Marsh, with Adi Newton (CLOCK DVA / THE FUTURE), and John Wilson (HEAVEN 17), originally a cassette-only release (1981). Following two groundbreaking albums (\'Reproduction\' and \'Travelogue\'), the original line-up of Sheffield-based The Human League split in half in late 1980. The two primary musicians in the group, Martyn Ware and Ian Craig Marsh, formed a new production company - the British Electric Foundation (B.E.F.) - and signed a deal with Virgin Records to write and produce up to six albums a year. The artists they were to produce would include Heaven 17, their own new band formed with vocalist Glenn Gregory. B.E.F. would also release their own material, commencing with the music on this collection, which was issued in various permutations in 1981-82. Its initial release in March 1981 was a limited edition numbered eight song cassette entitled \'Music for Stowaways\', with \'Stowaways\' being a reference to the original name for the then-new Sony portable cassette player - later renamed the Walkman - of which B.E.F. were great fans. \'Music for Stowaways\' was intended to be listened to on such a device. The cassette was followed by a seven song LP, \'Music For Listening To\', which had a slightly different tracklisting, while other B.E.F. music was utilised for B-sides of early singles by Heaven 17. This music was among the first recorded by Martyn and Ian directly after their departure from The Human League. Some tracks had evolved from other recordings they were working on at the time, such as \'Groove Thang\' - an instrumental version of the debut single by Heaven 17 - and \'The Old At Rest\', which derived from a version of \'Wichita Lineman\' by Jimmy Webb, their very first recording with Glenn that would subsequently appear on B.E.F.\'s \'Music of Quality and Distinction, Volume One\' covers album in 1982. Supporting musicians on \'Music For Stowaways\' included Adi Newton of Clock DVA (who had been a member of The Future with Martyn and Ian pre-Human League) on the track \'Uptown Apocalyse\', with John Wilson (who provided incredible guitar and bass for Heaven 17) appearing on Groove Thang. The innovative sounds heard on \'Music For Stowaways\' were an inspiration to many aspiring electronic artists. In 2015, Uncut magazine included it in a list of the \'50 Greatest Lost Albums of All Time\'. credits released April 21, 2023 \"One of the most innovative and important electronic albums of all time\" Electronic Sound ★★★★ Mojo ★★★★ Record Collector ★★★★ Classic Pop 8/10 Uncut All tracks composed, arranged, performed and produced by Ian Craig Marsh and Martyn Ware for the British Electric Foundation, except for: Uptown Apocalypse - written by Ian Craig Marsh, Martyn Ware, Steven James Turner (bass) and Adi Newton (synthesizer). The Optimum Chant - produced by B.E.F. and Glenn Gregory. Groove Thang - features bass and guitar by John Wilson. B.E.F. Ident - composed and performed by Malcolm Veal in the style of Bach/Purcell. license all rights reserved https://coldspring.bandcamp.com/album/music-for-stowaways-csr310cd-lp	2023	€23.50
B°TONG (B*TONG / B-TONG/ BTONG)	Ov ELF and HAARP	CD-R & object	"ACL 1003: Limited edition of 50 in hand-painted unique packaging AC 1003: Unlimited edition in plastic sleeve A concept album by Swiss dark ambient/drone industrial legend B°tong which uses the conspiracy theory on the High-Frequency Active Auroral Research project (HAARP) as its basis while simultaneously infusing it with subtle and highly sophisticated artistic irony. Deep electronic drones invoking the echo of enormous rooms and sound collages oscillating between the crackle of polar snow and echo location devices pinging through secret command bases combine to form a soundtrack of subliminally brooding horror while sometimes allowing for surprising lighter moments. These lighter moments include the almost meditative, tonal marimba sound in “Pagan Field Trip” (track 6), which is however replaced by “Stars Right Be Wrong” (track 7) taking the listener straight back into the dark with reverberating whispers and bat-like delay screeches. This album is “cinema for the ears” without the cliché, because reading the liner notes about HAARP, an attempt by the US Navy to turn the aurora borealis in a giant antenna for broadcasting in the ELF (Extremely Low Frequencies), conjures up images from a conspiracy/horror thriller on the subject, which makes it possible to listen to this album as a sort of radio drama (almost) without words. After the respective oeuvres of film composers Graeme Revell (formerly of SPK) and Brian Williams (Lustmord), this album is further testimony to the common ground between good industrial and atmospheric soundtracks." [label info] www.wix.com/attenuationcircuit/attenuation-circuit "The Attenuation Circuit label started out with the release of music by Emerge, and now expands to other artists, and the first one is Btong, the Swiss artist who has already produced a fine body of atmospheric and ambient music. This new one is more or less a concept album about the conspiracy theory 'on the High Frequency Active Auroral Research project', which, according to Wiki, is 'its purpose is to analyze the ionosphere and investigate the potential for developing ionospheric enhancement technology for radio communications and surveillance purposes', set up by the US government, so you know for a fact there is a hidden agenda (not me). This sort of conspiracy theory/lunacy about such matters fits the music really of BTong, who is known to use radio signals, sound effects and electronics to create chilly, eerie, atmospheric music. Sometimes there are voice bits, whispering, not singing, adding a radioplay like texture to the music, which is otherwise quite inspired by the work of Lustmord: lots of reverb, but used in an effective way and not over the top. Excellent work." [FdW/Vital Weekly]	2011	€11.00
BABYLONE CHAOS	Noises from the Attic	mCD-R	"seven years ago, we released a "réactions mécaniques", a 3" by botchan korisen, one of the many aliases julien cornu-kuoch uses (used?). over the years, his main project babylone chaos evolved from more electronic sounds and rhythms to more complex structures and organic sounds. babylone chaos recently released a collaborative disc with contagious orgasm ("altered beasts" on steelkraft manufactory) and it seems like babylone chaos could be now compared to the japanese artist. "noises from the attic" is an oppressive 17 minute track, a frightening and dense mass of sounds." [label info] www.taalem.com "Also Babylone Chaos is a new name, but behind it is Julien Cornu-Kuoch, of whom Taalem released a couple of years ago 'Reactions Mecaniques' under the name Botchan Korisen - which is something I can't find no evidence off in back-issues - but now sees a change of modus operandi. The sampler seems is dusted and microphones stuck in the attic, basement or outside and sampled together into a dense piece of sample mania. Cornu-Kuoch is working these days with Japanese artists Contagious Orgasm, which is something that also shows in his solo music. There is an ambient quality about this too, but it's very much unlike say Tone Color. Where's Tone Color is light, airy, and up in the sky, Babylone Chaos is dark, brooding and mysterious. More the soundtrack of a fine horror movie about zombies and life after a nuclear holocaust, ending with a fine industrial grinding of said (sad?) zombies. Very dark and very moody indeed. Quite unlike for Taalem, I was thinking." [FdW/Vital Weekly]	2013	€5.00
BAKER, AIDAN	Same River Twice (SOLD OUT)	7inch	“We never find enough artists where the phenomena of being writers as well musicians intersect but the Canadian AIDAN BAKER is one of them. Since he began to release music (solo or with his band-project ARC) he has shown poetic sensibility and many emotional levels while creating this elegant & beautiful guitarish drone harmonics. The two pieces here on his very first vinyl-release are thus inspired by literature titles plunged us into the sound-waves of some of the most mysterious shimmering daydreaming episodes. Dare diving in these warm-colourful travelling fluids... Each cover comes with an handwritten piece of poetry by the artist.” Filed under: Poetic & trancy day-dream-drones ~ CLEAR WATER-COLOURED VINYL WITH YELLOW SPOTS BLUE & GREEN HANDPAINTED COVERS. EACH COPY HAS A UNIQUE HANDWRITTEN POETRY BY THE ARTIST.” [press release] LAST COPIES !	2004	€6.50
	Souvenirs of the Eternal Present	MC	"It is hard to find another contemporary artist as prolific as Aidan Baker. Since the year 2000, and across a multitude of aliases, Aidan, often accompanied by a revolving cast of collaborators, has unveiled recording after recording at a rate of productivity which makes even a year in the life of Aidan Baker (or his most prominent alias Nadja) look like the entire discography of many other well documented artists. That in itself is quite a feat, but taking that into account along with the clear, stylistic sovereignty of each of his recordings makes Aidan Baker that rare combination of multitudinousness and creative reinvention, where regardless of what elements and instruments make up a recording, they simultaneously sound unlike anything else before, yet somehow clearly possess the artistic DNA of Aidan Baker. An aspect of this is his fondness of ethereal elements, which is a distinctive thread running through Souvenirs Of The Eternal Present. In this incarnation, and in juxtaposition to the “slow grow” of recordings more akin to the Nadja moniker, these atmospheric builds and layers are intertwined within a framework of pace quickening rhythms, akin to the end result of some parallel universe where Godspeed You Black Emperor and Bohren and Der Club of Gore are somehow commix. In terms of art, and its relationship to its complimenting artifact, each side of this cassette (which is made up of a total of 5 separate passages in total) is meant to be taken in as a side as a whole, as one would a diptych or triptych. Thus, as a cassette presentation, one side gives way to the other at exactly the rate the reels spool, and is meant to be taken as such, as opposed to a collection of tracks in of themselves. Thus, Anthem Records is please to present Souvenirs Of The Eternal Present in the form of a limited edition cassette tape with accompanying digital download." [label info] www.anthemrecordsinc.com	2013	€11.00
	The Sea swells a bit	do-LP	"As a Canadian musician currently living in Berlin, Aidan Baker got first famous as half part of the prolific project Nadja, playing along with Leah Buckareff. LP after LP and collaboration after collaboration (A Storm of Light, Atavist, Year of no Light....), Nadja never ceased to explore the different aspects of ambient, noise and drone music. Also a prolific solo composer, Aidan Baker is well-known by experimental and alternative music fans as much for his solo albums as for his prestigious collaborations with some artists (Tim Hecker, Thisquietarmy, Noveller...) and famous music labels (Denovali, Important, Lattitudes, Gizeh...). Today, Mind Travels is very proud to present the first vinyl edition of one of his key records, A Sea Swells a Bit...., first released in 2006. Three long ambient titles that will likely make you shiver and lose your senses. A live version of the eponymous title is also joined as a bonus. The artwork, again designed by Francis Meslet (Urbex), intensifies in the most admirable manner the depth of this dizzying music." [label info] www.icidailleurs.com "AIDAN BAKER besingt die tiefe See, den Ozean, sterbende Seemänner. Dicht und undurchdringlich, dunkel gefärbt & geheimnis-umwebt sind seine drei langen Stücke auf dieser CD für den SMALL VOICES-Ableger. Wie so oft arbeitet BAKER mit urlangen Gitarrenloops, schichtet Zirkel auf Zirkel und sich allmählich aufbauenden Crescendos.... ab dem zweiten Stück durchziehen sanfte Perkussion und Bass-Grooves die Flächen, und das ganze erhält einen leichten Psychedelic-Touch...." [Drone Records text zur CD version 2006]	2015	€20.00
	Same River Twice	7inch	“We never find enough artists where the phenomena of being writers as well musicians intersect but the Canadian AIDAN BAKER is one of them. Since he began to release music (solo or with his band-project ARC) he has shown poetic sensibility and many emotional levels while creating this elegant & beautiful guitarish drone harmonics. The two pieces here on his very first vinyl-release are thus inspired by literature titles plunged us into the sound-waves of some of the most mysterious shimmering daydreaming episodes. Dare diving in these warm-colourful travelling fluids... Each cover comes with an handwritten piece of poetry by the artist. Filed under: Poetic & trancy day-dream-drones ~ " [original press release for the 1st ed.] www.dronerecords.de	2015	€7.50
	Half Lives	do-CD	"Half Lives is the Gizeh Records follow-up album to Baker’s acclaimed 2013 album Already Drowning. While that album was built around the guest vocals of female singers - including Carla Bozulich, Jessica Bailiff and Geneviéve Castrée (O Paon) - Half Lives comprises two separate but interconnected albums and Baker’s loose concept was that they would bridge the more abstract/experimental and song-oriented natures of his work. Both albums were recorded in August 2014 in Berlin and are the product of initial extended improvisations that were then arranged into coherent pieces - ‘constructed’ rather than ‘composed’. In these senses, parallels can be made with artists such as Bark Psychosis, Low and The For Carnation, for whom experimentation with texture and timbre has never been a reason to abandon the song form. • 2xCD // Housed in a 6 panel matt finished digifile sleeve. Includes a free instant download of the entire album." www.gizehrecords.com	2015	€16.50
BAKER, AIDAN / N / DIRK SERRIES	Enomeni	do-LP	Some years ago, when we (Cosima & Dimi) visited a live performance of Dirk Serries Microphonics, he asked us, if we ever will marry and we answered, that if we do, Dirk had to play a wedding concert for us. Back then, it was just a running joke. Well, finally we ended up with a wedding band consisting of our three favorite artists Dirk Serries, N and Aidan Baker. “Enomeni” (which is greek and means “connected”) is a document of a very special live performance. Aidan Baker, N and Dirk Serries came together for the first time to play an improvised live session. The result is an one hour session, divided into four tracks, which show up an impressively increasing soundjourney with accentuating moments, ending up in a massive drone with squeaking and buzzing guitars. The set starts very cautious and you can hear how the three musicians are coming together to build up an epic track, in which they find their perfect roles. Aidan Baker takes over the rhythm section by looping some sweeping sounds, N builds up a valley of ambient and drone sounds with hills, mountains and endless horizons and Dirk Serries rounds up everything by accompanying both or bringing in some accents like bowed guitar sounds. Like mentioned before everything ends up in an encore which also could bring you in mind, that they were joined by members of Sunn o))) or Earth for a big drone finale. The set was mastered for vinyl by Fear Falls Burning (Dirk Serries), being divided into four tracks, each one hosted on one 12inch side. The artwork is made by N, using photos by Cosima made in Greece during the church wedding vacations. The record comes as a double vinyl in an edition of 250 copies, housed in a gatefold sleeve, printed inside out with an incredible hand feel. We have 150 copies on black vinyl and a limited edition of 100 coloured copies. www.midirarecords.com	2016	€27.50
BAKER, AIDAN & TIM HECKER	Fantasma Parastasie	CD	Die beiden ungekrönten Könige des kanadischen Drone-Ambients in Kollaboration! Trotz ihres sehr unterschiedlichen Backgrounds (der eine v.a. analog mit Gitarre arbeitend aus der Jazz & Impro-Szene stammend, der andere mit rein elektronischem Hintergrund eher aus Techno & Noise-Gefilden) treffen sie sich in einer fast undefinierbaren "Mitte", wobei unklar bleibt wer wessen Material bearbeitet hat oder ob es zu real-time Zusammenspielen kam. Frei flottierende Gitarren-Drones, teils ultra-sperrig verfremdet, teils subtil & beruhigend, dann wieder ausserweltlich und überbordend. Sehr variantenreich und ausufernd. Ungewöhnlich auch die Indexierung auf der CD: Die 7 Stücke verteilen sich auf ganze 66 Indexe! "Fantasma Parastasie sees the pairing of Aidan Baker, of the ambient doom band Nadja, and Tim Hecker, two of Canada's brightest musicians in the world of abstract electronic music. Tim Hecker has been enjoying the rewards of a stellar career and discography, devoid of filler, due to his incredibly high quality control. His full-length Harmony In Ultra Violet was viewed as a major release in the genre of experimental electronic music. Aidan Baker, on the other hand, works under very different circumstances, releasing material both as a solo artist and as a member of the duo Nadja. His prolificacy is on par with that of Merzbow and the late Muslimgauze. Thankfully, Aidan Baker is one of those musicians with the ability to record and write new music quickly and without sacrificing the quality of his art. Anyone familiar with both Aidan Baker and Tim Hecker is more than likely familiar with Alien8 Recordings as the two musicians have collectively released seven records for our label thus far. While Baker has collaborated with the likes of John Duncan, Black Boned Angel and Fear Falls Burning, among others, this marks the first collaboration to be released by Hecker. This release, divided in eight movements, blends together to form a fluid example of a collaboration that works. Unlike one of those collaborations where artists throw some sound files back and forth via the internet, this release is the fruit of various real-time recording and mixing sessions the two artists worked on in Tim Hecker's Montreal studio. The pieces on the record blend seamlessly into one another, creating a deeper listening experience, as is the case on a number of Tim Hecker's solo outings. While Baker and Hecker share a penchant for creating a powerful blend of ambient noise, Fantasma Parastasie finds the more dissonant elements tempered by an emphasis on ambience and even occasional melody. This release is available on CD in a digipak packaging." [label info] "... But somehow, the sounds on Fantasma Parastasie manage to transcend, allowing glimpses of familiar sounds, hints of each artist's own work, but woven into a whole that is unto itself, a gloriously abstract swirl of sound, longform landscapes of bliss and blur, of buzz and even roar, extended movements, in which the various elements drift and shimmer, overlap and intertwine, melodies and songcraft meet texture and soundscapery, guitars unfurl tangled melodies one second, bleary eyed chordal blurs the next, harmonics glisten and hover amidst deep soft swells, distortion and buzz build into fierce walls of blown out psychedelia, the sounds crumbling and decaying before our ears, threatening to collapse, and in this fragile state lies the beauty of those sounds, effulgent, incandescent, but at the same time, blackening, beginning some unnamable process of inevitable decay. And eventually it does decay, those thick roiling sounds dissipate, leaving something soft and shimmery, glistening on a bed of shed buzz and crumbled crush, floating heavenward, its notes and melodies catching the sunlight, and offering up prismatic reflections. The strange thing about this record is that each song is separated into super short pieces, eleven in most cases, each part between 15 and 45 seconds (it's obviously much more noticeable on the cd). We tried listening to it on shuffle, presuming that was perhaps the intention, and while it still sounds cool, it was a bit too and took too much away from the overall effect. Instead, the various parts, played in order, slip seamlessly into one another, so much so that if you weren't watching the tracks tick by on player, you wouldn't even notice. The two work amazingly well together, bits of guitar, fragments of riffs, looped and repeated, swathed in thick smears of digital crunch, of buzzing rumble, much of the record sounds like a heavier William Basinski, as if the two were experimenting with they own Disintegration Loops. A few of the tracks are quite tranquil, abstract and minimal, but for the most part, Baker and Hecker seem more interested in distressed sounds, in distortion, in pushing the limits, composing in the red, needles pegged, but taking what in other hands could be harsh and abrasive, and crafting those sounds into something simultaneously soft and dreamlike. Even the various movements, drift smoothly into one another the entire record almost like a single piece, expansive and varied and sprawling, epic and majestic, but inward looking, introspective, melancholy, imbuing the crumbling crunch and blown out minimalism, with emotion, with distinctive mood, at once dark and mysterious, but also strangely hopeful. The album closer and title track, is the only one not split up into movements, and is easily the most abstract, the most minimal, a stretch of lugubrious low end, so soft, so weightless, a hushed musical murmur, no distortion, no buzz, just a simple swell and sway, drifting fading, and finally disappearing. Absolutely breathtaking."" [Aquarius Records review] www.alien8recordings.com	2008	€13.00
BARBIERI, CATERINA	Fantas Variations	do-LP	Fantas" is the epic opening track on Caterina Barbieri's acclaimed 2019 release Ecstatic Computation (EMEGO 259LP, 2019). The original "Fantas" laid out a magical path of patterns leading the listener on a journey into the sound itself. Fantas Variations maps out eight new potentials sprung from this initial path as constructed by a diverse mix of artists lending to a wide spectrum of new works extrapolated from the original work. For this project Barbieri invited friends and long-time collaborators from a variety of musical backgrounds to create a more sustainable and inclusive landscape in terms of stylistic, geographical, gender, and generational balance. The results are a diverse array of approaches and instrumentation which blur the boundaries between the acoustic and electronic. Fantas Variations embraces a platform for mutual exchange and support between like-minded artists, where active and collective re-imagination is prioritized over the traditional model of remixes, which is often strategic, functional and more passive. Longtime friend and collaborator Kali Malone rearranged "Fantas" to a slowed-down, austere and eerie version for two organs. Evelyn Saylor created a piece for a vocal ensemble consisting of her, Lyra Pramuk, Stine Janvin, and Annie Garlid, joining forces to express the choral, psychedelic and vital nature of the piece. Barbieri's former guitar professor at the Conservatory in Bologna, Walter Zanetti, composes "Fantas" for electric guitar, by translating every single gesture of the original electronic piece into a personal, nuanced and detailed interpretation. Bendik Giske's reinterpretation for saxophone and voice captures the atmospheric essence of "Fantas" and its psychic meteorology. Longtime collaborator and along with Barbieri the other half of the outfit Punctum, Carlo Maria, resynthesizes "Fantas" for TR808 and MC202, bringing a more club-oriented dimension of the piece to life whilst unveiling the sonic continuum between rhythm and pitch through a sensitive timbral approach. Jay Mitta's Singeli reinterpretation of "Fantas" transpires with pitched-up percussion and turbo-fast polyrhythmic patterns unleashing the frenetic, shifting, transformative matter within the piece to a higher plain of euphoric dance. Baseck's variation is a rave fantasia, where the prismatic trance of the original is channeled into fierce, uncompromising hardcore, whilst Kara-Lis Coverdale's take is a phantasmagoria for piano that gently, yet inexorably, captures the relentlessness chimerical qualities of the original, unveiling its spectral backbone. Mastered by Rashad Becker, February 2021. Cut by Andreas Kauffelt at Schnittstelle, Berlin, February 2021. Artwork and typography by Ruben Spini. Lettering by Alice Fiorelli. 01. Evelyn Saylor (feat. Lyra Pramuk, Annie Garlid and Stine Janvin) - Fantas Variation for Voices (7:38) 02. Bendik Giske - Fantas for Saxophone and Voice (7:31) 03. Kali Malone - Fantas for two Organs (10:21) 04. Walter Zanetti - Fantas for Electric Guitar (7:27) 05. Jay Mitta - Singeli Fantas (12:03) 06. Baseck - Fantas Hardcore (4:44) 07. Carlo Maria - Fantas resynthesized for 808 and 202 (4:29) 08. Kara-Lis Coverdale - Fantas Morbida (3:04) https://editionsmego.bandcamp.com/album/fantas-variations	2021	€25.50
BARDOSENETICCUBE + NOISES OF RUSSIA	New Orthodox Line	CD	Rauhe, trancige Dronescapes mit sakralem Touch & intensiv ansteigendem Spannungsbogen zum Ende hin. Vielleicht lässt sich dieses feine Album der beiden in St. Petersburg beheimateten Projekte so mit einem Satz charakterisieren. Letztere sind zuletzt durch eine Reihe von ekstatisch-rituellen Konzerten aufgefallen, die sie in Russland und im angrenzenden skandinavischen Raum gaben... "New Orthodox Line brings together two of the most notable Russian post-industrial / experimental groups: Bardoseneticcube and Noises of Russia. This unique collaboration stirs the best of both artists to surface, and results in an extremely powerful and intense emotional experience. The opus travels from sacral soundscapes of orthodox choirs and church bells to a more punishing end of the sonic spectrum provided by pounding rhythms and howling feedback. Here, the opposites unite with passion and compliment each other for the sake of the greater good, the synergetic New Orthodox Line. Bardoseneticcube, having released dozens of albums on various labels worldwide, has gained recognition in the international experimental / electronic scene. Bardoseneticcube self-describes their music as “surrealism”, using A. Breton’s description: "pure psychic automatism willing to express the real functioning of the reflection either orally or written, or in any other form. Dictation of mind without any control from the intellect, outside of any aesthetic of moral considerations". More info » bsc.radionoise.ru Noises of Russia is a highly active Russian experimental music act, with practically countless live performances and a number of albums and videos under their belt. This four member group uses styles and imagery from dark ambient to drone, all the while never forgetting traditional noise music. Their unique mixture of influences, along with their extremely powerful use of vocals, create an unforgettable experience in modern music. More info » www.noises.ru " [label notes] "... a joint venture between two of Russia's interesting projects from the Noise-related scene. Noises Of Russia is a quartet known for its high activity of live performances plus a large number of albums and videos released. The other project is called Bardosenetticcube also being in the forefront on the Russian scene. This album titled "New orthodox line" is a strange beast even in the noise scene with the inclusion of sacral soundscapes consisting of church bells and orthodox choirs swirling in the storm of abrasive noise drones. Consisting of one lengthy track of 47 minutes the expression is impressive with a nice emotional approach to sonic aggression. Intense." [NM, Vital weekly] www.someplaceelse.net	2007	€12.00
BARTC	Insubstantial as Ghosts	CD	BArTc is London based experimental electronic audio visual artist Jason Barton, with his nom de plume comprising the symbols for three chemical elements - Boron (B), Argon (Ar) and Technetium (Tc) - while also giving nods to both Hungarian composer Béla Bartók and his own surname. 'Insubstantial As Ghosts' is Barton’s debut album and contains fourteen highly atmospheric soundscapes. Taking the title from a William Gibson novel that was also used in a citation about Sleeping Sickness (‘they neither conveyed nor felt the feeling of life; they were as insubstantial as ghosts, and as passive as zombies’), he comments that “I have always loved the phrase as for me it perfectly describes minimalist, other worldly dark ambience.” Initially inspired by instrumental electronic records in his father’s record collection by titans such as Tangerine Dream, Vangelis and Jean-Michel Jarre, Barton soon gravitated towards underground ‘industrial’ icons such as Coil, Einstürzende Neubauten, Chris & Cosey and Skinny Puppy, as well as digging deeper into the work of early German electronicists such as Cluster, Musique concrète pioneers Pierre Schaeffer and Pierre Henry, plus the BBC Radiophonic Workshop. Citing sound recordist (and Cabaret Voltaire co-founder) Chris Watson as another influence, adding that “I have always loved environmental sounds and often carry a field recorder on my travels which I use to create texture in my pieces.” Further explaining his modus operandi, Barton explains: “I build layers to create something abstract yet strangely beautiful, mixing source material, organic and experimental sounds plus field recordings that are heavily distorted with various effects. For me, creating music is a form of meditation, and to lose oneself in an improvisation is a wonderful experience. I just need to remember to hit record!” Having collected synthesisers and made music (both alone and with friends) for several years, Barton subsequently started the project Less Than One to create accompanying videos that he began posting on Instagram. Initially solely for his own work, he soon earned plaudits from a worldwide community of electronic artists that in turn has led to commissions from the likes of Daniel Avery and Alessandro Cortini. Much of ‘Insubstantial As Ghosts’ was recorded in January 2021 while the UK was in lockdown. “I participated in an annual Instagram music making challenge, where artists post a short piece of music every day using the hashtag #jamuary2021. Recording my contributions at the same time every evening (22:23), I amassed many minutes of music and ideas. Some of these were expanded to become tracks for the album or inspired further recordings through the dark winter nights.” ICR's Colin Potter heard some of Barton’s work and agreed on a releasel. He has handpicked several of the pieces included on ‘Insubstantial As Ghosts’ and also mastered the album. https://icrdistribution.bandcamp.com/album/insubstantial-as-ghosts	2021	€13.00
BASINSKI, WILLIAM	On Time out of Time	CD	On Time Out of Time is a suite of works originally commissioned for the 2017 installations 'ER=EPR' and 'Orbihedron' by artists Evelina Domnitch and Dmitry Gelfand (in collaboration with Jean-Marc Chomaz and LIGO) for the exhibition, 'Limits of Knowing' at Martin-Gropius-Bau, Berlin by curator, Isabel de Sena. These works utilize, among other things, exclusive source recordings from the interferometers of LIGO (Laser Interferometer Gravitational-Wave Observatory) capturing the sounds of the merging of two distant massive black holes, 1.3 billion years ago. The CD features two tracks: The 40-minute title track, "On Time Out of Time," as well as "4(E+D)4(ER+EPR)", a live track recorded during the aforementioned installation. The vinyl LP format features two exclusive mixes of the title track: "On Time Out of Time" on the a-side; and "On Time Out of Time (The Lovers)" on the b-side, made especially for the vinyl format.	2019	€14.00
BASINSKI, WILLIAM & RICHARD CHARTIER	Divertissement	LP	"Divertissement is the third collaborative full length from minimalist composer William Basinski and sound artist Richard Chartier. The duo utilize electronics, piano, tape-loops and short wave radio to evoke a dense atmosphere suggesting hundreds of years of history rising up from the depths of a reverberating cathedral. Subtle, buried and intense murmurs of melody morph through this deeply consuming and slowly evolving composition in two parts. Pressed in an edition of 500 with beautiful cover drawings by artist James Elaine. William Basinski is a classically trained musician and composer who has been working in experimental media for over 30 years in NYC and most recently, California. Employing obsolete technology and analogue tape loops, his haunting and melancholy soundscapes explore the temporal nature of life and resound with the reverberations of memory and the mystery of time. His epic 4-disc masterwork, The Disintegration Loops received international critical acclaim and was chosen as one of the top 50 albums of 2004 by Pitchfork Media. The Temporary Residence deluxe LP box-set reissue from 2012 was awarded best re-issue of the year and a score of 10 on Pitchfork. Installations and films made in collaboration with artist-filmmaker, James Elaine have been presented in festivals and museums internationally, and his concerts are presented to sold out crowds around the world. Most recently, Basinski was chosen by Music Director, Antony Hegarty to create music for the new Robert Wilson opera, The Life and Death of Marina Abramovic which had its world premiere at the Manchester International Festival in July 2011 and toured Europe in 2012 and North America in 2013. Orchestral transcriptions of The Disintegration Loops by Maxim Moston have been performed at The Metropolitan Museum of Art, Queen Elizabeth Hall and La Batie Festival in Geneva, Switzerland. Basinski is currently touring the world in support of Cascade and The Deluge, his latest works which will be released in Spring 2015 on 2062/USA. Richard Chartier (b.1971), sound and installation artist, is considered one of the key figures in the current of reductionist electronic sound art which has been termed both microsound and Neo-Modernist. Chartier's minimalist digital work explores the inter-relationships between the spatial nature of sound, silence, focus, perception and the act of listening itself. Chartier's sound works/installations have been presented in galleries and museums internationally including the 2002's Whitney Biennial and he has performed his work live across Europe, Japan, Australia, and North America at digital art electronic music festivals and exhibits. In 2000 he formed the recording label LINE and has since curated its continuing documentation of compositional and installation work by international sound artists/composers exploring the aesthetics of contemporary and digital minimalism. In 2010, Chartier was awarded a Smithsonian Institution Artist Research Fellowship to explore the National Museum of American History's collection of 19th-Century acoustic apparatus for scientific demonstration." [label info] www.importantrecords.com	2015	€25.50
BASS COMMUNION	The Itself of Itself	CD	https://basscommunion.bandcamp.com/album/the-itself-of-itself Steven Wilson is no stranger to composing music that appears to counter everything else before it in his catalogue. Bass Communion, his long running solo electronic project, is no exception to this perverse streak that apparently likes to turn all expectations upside down. The Itself of Itself, Bass Communion’s first album for 12 years, skillfully pays testament to this. Long established as a purveyor of mostly atmospheric or ambient textures, the seven cuts that represent The Itself of Itself take detours from this approach in order draw as much from musique concrete, noise music, abstract electronics and uneasy listening. Whilst still rippled with the same shades of light and dark that can be found throughout all of Bass Communion’s work, The Itself of Itself reveals a fascination with analogue sounds and, more importantly perhaps, ‘unwanted’ analogue artefacts like tape hiss, wow and flutter, static noise, and sonic break-up, taking the music into a space at once different yet familiar. ‘Apparition 3’ presents a stark nod to Wilson's established command of shifting textures steeped in penumbral gauze, while ‘Bruise’ is akin to a space probe adrift and headed towards a white dwarf as all communication is reduced to a disturbing and indecipherable crackle. Between the other five cuts we witness fragmented, garbled and buried voices, vast vacillating banks of grainy hum, what sounds like the dying gasps of an oboe, spooky swirls from an indiscernible source, swathes of tape hiss, moody drones, and spiralling slivers of noise. Meanwhile on the title track, a mellotron flute rusts and collapses in on itself in a way that renders it the very antithesis of the one deployed on ‘Strawberry Fields Forever’. Everything adds up to a dynamic listening experience where unease, dread and comparatively claustrophobic torrents of sound make (un)natural bedfellows to moments of enchantment and serenity. Above all, The Itself of Itself sees Steven Wilson cutting his teeth on an album that’s at once cinematic and moody whilst proving him to be a master in electronic music craftsmanship. It’s an album that might surprise some of those who have thus far been paying attention to his work as Bass Communion, but setting out to please everyone was never part of his raison ‘etre. 'The Itself of Itself' catches Bass Communion spreading its weatherbeaten wings to embrace new strategies and a strong desire to journey elsewhere. Arriving in a wonderful Carl Glover designed cover also comprising a 24pp. booklet of his photographs and an obi strip, The Itself of Itself arrives in late May 2024 on Lumberton Trading Company as a CD pressed in an initial run of 1000 copies. NOTE: An exclusive new Bass Communion track also appears on the When Worlds Collide 2LP compilation also due in May and available to pre-order in the shop (see link below). Other artists on this limited edition 2LP include Alternative TV, Final, Sion Orgon, Edward Ka-Spel, Splintered, Kleistwahr, Ashtray Navigations and more. THE ITSELF OF ITSELF TRACKLIST 1. Unperson 10:34 2. Apparition 3 6:04 3. Bruise 13:19 4. Blackmail 7:24 5. The Itself of Itself 10:24 6. Study for Tape Hiss and Other Audio Artefacts 11.58 7. Apparition 5 02:46 "...This new album has some interesting changes. On one hand, there are sounds of vinyl and tape hiss, heavily processed yet to be recognised as such, and there is the addition of real instruments, such as a mellotron (well, maybe not 'real', but a distinctly different kind of instrument than you'll find on your usual dark ambient record. Also, there are some shimmering chords played on a keyboard (in 'Apparition 3', for instance), crippled voices in the very creepy title track, along with more mellotron (I think). Using tape hiss in 'Tape Hiss Study' is quite a daring and risky movement. One could all too easily think, 'tape hiss, that we've heard enough of by now', but Bass Communion gives it an elegant twirl and creates an excellent collage, using various stages of the process. Throughout these seven pieces, there is quite a bit of variation so that there is no repeating of stale ideas of worn-out dark ambient. In 'Blackmail', Wilson ventures out to noise music and is more Merzbow (around 1990) than anything you would label as ambient music. Quite the accomplishment!" [FdW / Vital Weekly} https://basscommunion.bandcamp.com/album/the-itself-of-itself	2024	€17.50
BAUMANN, FRANZISKA	Eternal Ice melts	CD	Faszinierendes Gletscher-Dröhnen & erhabene Voice-Poetry von FRANZISKA BAUMANN, dazu 5 Remixe ihres Stückes von MICK HARRIS, SEETYCA (soon on Drone Rec!), SUBMERGED.... "...Highly recommended compilation to anyone interested in contemporary electronics from subtle field recordings to expressive breakbeat-science." [NMP / Vital Weekly] "In the fall of 2003 Franziska Baumann performed at the Matrix Festival of contemporary music, in Leipzig, Germany. Her manipulated recordings of melting glacier ice wowed the audience, but just as memorable were the 125 copies of a remix CD distributed at the event. Noted artists Lull, Seetyca and Clemmens Presser were drafted to compose pieces based on her works. For Mick Harris (Lull) fans, finding a copy of this CD has been their holy grail. On October 16 Soleilmoon puts an end to their frustration, and does it in typical over-the-top Soleilmoon fashion, with a hand numbered limited edition presented in a silkscreened vellum slip cover. Fortunately, the quantity is more reasonable this time: 500 copies will be made. And finally, just for this new edition, Kurt Gluck (Submerged) has contributed a heart pounding new drum’n’bass track. Lull is the name of the dark ambient side project of Mick Harris, former drummer for Napalm Death and current leader of challenging industrial music band Scorn. German artist Seetyca is a prolific artist who records his bleak, isolationist soundscapes music for many labels, including darkwinter.com. Clemens Presser, another German artist, has contributed to several compilations and is now working on his first solo album. Kurt Gluck runs the Ohm Resistance label and is a famous drum’n’bass DJ. He has collaborated with Bill Laswell and John Zorn, and regularly moves back and forth between the dance and experimental music scenes. Franziska Baumann is fascinated by the glacier as a listening space. She has been examining the forms of sound in and upon the glacier, inspired by the enormous tide of ice and its multilayered temporal and spatial dimensions, and she sets her own voice in a dialogue with its icy spaces Using stereo, zoom and contact microphones, Franziska Baumann senses the aliveness and dynamics of ice and the poetry of the sounds that live in glacial crevasses and grottos. The sounds of the glacier (creaks, drips, rumbles, shuffles etc.) were recorded at different times on and within. Her voice touches the icy crevasse walls in their various states, from karstic to icy smoothness. Warmth and cold produce different sound pictures. In collaboration with glaciologists from the Federal Institute of Technology (ETH) and the Swiss Computing Center in Zurich, she has transformed seismographic recordings of glacial movements into sound paintings. A portrait of this work was broadcasted on Swiss television in December 2001." [press release]	2006	€13.50
BECUZZI, GIANLUCA & FABIO ORSI	Muddy speaking Ghosts through my machines	CD	Zweite VÖ dieses Jahr für das italienische Duo, experimentelle electronica-ambience die mit Blues & Folk-Versatzstücken sowie field recordings angereichert ist, was zu erstaunlich stimmigen Ergebnissen führt. "Muddy Speaking Ghosts Through My Machines' is the brand new album released together by Fabio Orsi and Gianluca Becuzzi. This album will be certainly followed by other cooperations, considering the big friendly artistic sodality between them. Fabio e Gianluca are a strange duo, considering the big differences of their artistic back-ground. Fabio Orsi is a young and unexpected talent. After his first album, "Osci" (LP, SmallVoices 2005), produced by Gianluca Becuzzi, he got a lot of positive feedbacks, worldwide, by the most important international media, confirmed by his second official release "For Alan Lomax" (CD, A Silent Place 2006) splitted with cosmical Italian duo My Cat is an Alien. Gianluca Becuzzi is a very well known character of the Italian experimental scene since from the 80s, under many different alias. Recently known as Kinetix, Gianluca latest release is the very well appreciated "Memory Makes Noise" (CD, SmallVoices 2006) a great electroacoustic pearl. The unexpected uncounter between different forces, experiences and visions of this two artists is prefectly melted in this album: strong and tied, an imaginary place where folkway and research, past and present, distance and closeness, mud and clouds, ghosts and machines meets. Shreds of ballads, guitars and old keyboards floating on the vibrant surface of this faery river and disappear, towed off by drones and rumors, pouring between distant voices and centenary blues songs from the Alan Lomax archive. Raptur and sweet lostness: this is the main sensation. It could be listed as Avant-Folk, or Experimental-Blues, Ambient- Roots or contemporary aesthetics and aching nostalgia..." [label press release]	2007	€13.00
	Soundpostcards	CD	Das Cover dieser CD sieht wirklich wie eine "Klangpostkarte" aus, mit verschiedenen atmosphärischen Klangfeldern der Natur darauf. Das melancholische Duo entwirft auf 11 Stücken äusserst fragile, nostalgische, minimal instrumentierte Soundlandschaften, meist auf analogen Synth/Keyboard basierend, aber auch mit sanften field recordings durchsetzt. "Soundpostcards" ist ihre erste Zusammenarbeit von 2004 & 2005, die bisher nur als MP3 erschien... "Sound Postcards is a sound representation of determinated time-space, of its moods and atmospheres, it's a sort of soundpostcard in which the artists portray a familiar and hypothetical landscape. The listener is induced to ''identify'' the represented subjects through interpretative processes which directly compare sound suggestions with subjective/collective imagination. A semanthic game of mirrors reflecting forms in perpetual transition between auditive dimension and symbolic/mnemonic one. "Soundpostcards" is the first collaboration of this two artist, originally releasesd (2004) in two different mp3 work, now reissue for the first time in CD after a been REWORKED and added with an unreleased track. The Sounds is really inmost and peacefully melancholy. Lost and naked melodies (some times near to the feeling of the most dilatated post rock other time much more near to the aesthetics sounds of the avant folk music) on a soft background of field recordings and drones.] * Since 2004 the italian compositors Gianluca Becuzzi and Fabio Orsi are a strong and stable duo. Gianluca Becuzzi is a very well known character of the Italian experimental scene since the '80s, under many different alias. Fabio Orsi is a young and unexpected talent. After his first album, "Osci", produced by Gianluca Becuzzi, he got a lot of positive feedbacks, worldwide, by the most important international media. The unexpected uncounter between different forces, experiences and visions of this two artists** is prefectly melted in their intense and fascinating productions made of guitars, old keyboards, field recordings and sound objects. Compositions where everything plays with big emotions: visionary soundscapes, deep drones and sudden noises." [label info] www.centreofwood.com	2009	€12.00
	Dust Tears and Clouds	do-CD	"Following the previous albums released, among others, by Last Visible Dog and Digitalis, "Dust Tears and Clouds" is the fifth full-lenght work born from the collaboration between Gianluca Becuzzi and Fabio Orsi. Becuzzi is an electronic / electroacoustic composer and sound artist active since the first half of the ’80s. Founder of the historic Darkwave / Industrial project Limbo, since 1999 his artistic production is characterized by a strong experimental imprint and by a clear tendency toward abstract aesthetic forms and micro/macro noises/sounds. Among his recent artistic production - in addition to what he has published under his own name - we should at least mention his projects Kinetix, Noise Trade Company and Grey History. On the other side, Orsi sits among the most interesting names of the European electronic and experimental scene. Following his early output on A Silent Place and Smallvoices, his music works have been published by many other labels worldwide, including Porter Records, Boring Machines and, of course, Silentes. His talent has become an estabilished reality thanks to his abilities in finding a nice balance between experimentation and melody. “Dust Tears and Clouds” combines two CDs in a single release. The first disc, entitled “Dust Tears and Skinny Legs Poets”, was recorded in 2007 and remained unreleased until now. It contains eight highly evocative tracks that feature American Folk samples recorded by Alan Lomax mixed with guitars and electronics. This work can be seen as the ideal follow-up to the acclaimed “Muddy Speaking Ghosts Through My Machines”. The second disc collects the three long tracks previously released by Foxglove back in 2007 as a 3x3” MiniCD-Rs extremely limited edition, with the welcome addition of an unreleased fourth track. Here Becuzzi and Orsi offers two solo efforts and two collaborative numbers; the voices and samples that graced the first disc are absent and the musicians create denser experimental plots soaked with field recordings, synthesizers and effects. Overall, the two Italian artists showcase a broad range of solutions and, once again, they create a rich work whose repeated listening will reveal more and more details." [label info] www.silentes.net "Deceivingly simple. That's what I thought when I noted on the cover 'contains american folk samples by Alan Lomax'. Lomax recorded a whole bunch people singing traditional songs, usually without any instruments, and that's true treasure vault if you want to spice up your abstract music with a more musical element. It almost immediately turns your music into a movie soundtrack or radio play. Easy stuff? The easy road of Moby? Perhaps, perhaps, the eight pieces recorded by Gianluca Becuzzi and Fabio Orsi, who use a lot a of guitars and field recordings here, and seem to have reduced the electronics, create some great music with not just their instruments, but use the Lomax archives with relatively fine sparseness. Not too much, not too little, and sometimes it seems they process a bit of that too, or just the insects in the background and create perhaps indeed easy music, but easy music that works very well. In the two parts of 'Talking With Ghosts' the original Lomax recordings are a bit too much with not enough 'anything else', but these are with three minutes each also the shortest ones. The other six pieces are longer, but are more in favor of new music with the Lomax samples to support it. Nice stuff, relaxing, ambient, micro sounding but with an odd twist. Just why did it take so long, as this was recorded in 2007, to release it? Maybe Becuzzi and Orsi weren't that sure either? As a bonus (?) there is a second CD with four longer pieces of which three were released in 2007 as three 3" CDRs by Foxglove, with one piece by Becuzzi and Orsi each solo and two duo pieces, of which one is previously unreleased. This is more familiar territory for both artists. Long pieces of ambient like sounds, in which all of the sources - field recordings, guitars, electronics - are further processed and make up some dark ambient music, but not in the strictest drone sense. It moves about in a calm and gentle way, but is perhaps also a bit long here and there, and a bit with form. It moves in irregular shapes and colors and is alright. Not great actually and perhaps a bit too much common ground?" [FdW/Vital Weekly]	2013	€16.00
BEEQUEEN	Aughton	LP	“The queen of all honeys nourishes its hive with a sweet sustenance of archival sweetness. Aughton represents a cadre of organic drone/concrete pieces. Softly cavernous and compact compositions that occasionally become musical by suggestion only. It's a bit like being underwater while someone is playing loud church music out a car window as a train screeches by. It's that fugue state induced by the ever more apparent overtones of a nearby engine. It is quiet and disquieting. The several pieces together add up to something of a subtonal symphony, though the parts are quite distinct. A great, steely and dark space-out, whose horse runs happily astride 80's Zoviet France or in some respects, Harry Bertoia." [press release] www.blrrecords.com "This new LP on Beta-Lactam makes an interesting companion piece to Beequeen's recent Important Records album. Where The Bodyshop was a milestone for the work of Freek Kinkelaar and Frans de Waard with its unexpected emphasis on melody, structure and songcraft, Aughton—The Patient Books is much more familiar Beequeen territory—organic drones, submerged loops and moody atmospherics. This seemed like an unexpected return to form until I checked the liner notes and discovered that these pieces were, in fact, recorded from 1993 to 1995. To anyone familiar with the work of the duo from this period, the sounds on this LP will be very familiar. Beequeen have always been extraordinarily good at creating dusty, low-fidelity machine drones that have a grainy, organic resonance in which one can hear all manner of buried and obscured melodies. Their textures have a distinctly antiquated feel to them, like the penetrating buzz of a sodium streetlamp on an Amsterdam street corner in the late-1800s. On many of these pieces, Freek and Frans take advantage of the substance of tape itself, building pieces from the rhythms produced by a slowly queuing cassette tape, or using the fundamental technical limitations of magnetic tape to intensify the lived-in, archival feel of much of this material. Even the name of the album conjured images of a long-neglected psychiatric hospital archive, full of disintegrating reel-to-reel tapes of long-forgotten significance. "I'm Searching For Field Character" is the perfect soundtrack to an Orwellian Room 101: a distorted voice with the weighty tone of a Soviet social engineer reads aloud a block of text meant to reprogram us with revolutionary propaganda. All the while the clock ticks loudly and distant air raid sirens blare. It has the effect of a frightening Cold War radio drama pulled into near-total abstraction. With interest I've tuned into the current wave of heavily hyped New Weird American drone artists like Double Leopards and Dredd Foole, but this brief LP by Beequeen comprised of material more than a decade old seems fresher and more adventurous by far. Beequeen are careful not to stray too far from theme, mood and substance, so their work is always enriched by the myriad symbolic associations that each listener brings to the experience. The same cannot be said of the aforementioned artists, who often prefer to just play the same tone as loud as they can for over an hour, as if endurance alone could prove the merit of their work. Aughton is a refreshing antidote to this kind of amateurish noodling, and I highly recommend it to any who have found themselves disappointed by this sort of thing in the past." [Jonathan Dean / Brainwashed]	2004	€17.00
BEGG, MICHAEL	A Moon that Lights Itself	CD	During the 1870s, Charles François Daubigny, in the last years of his life, took increasingly to painting nocturnal scenes en plain air from his boat studio, Le Bottin. This was a period in time when the idea of the musical nocturne had progressed from being an indication of what point during the evening a particular piece of music should be played, towards becoming an articulation of the unique atmosphere and emotion occasioned by moonlight. Elsewhere in France, Edouard-Lean Scott de Martinville conceived and produced the phonautogragh. This device, appearing years before Edison’s phonograph, enabled sound, for the first time, to be captured. Unlike Edison, however, de Martinville neglected - or saw no need - to provide the means to playback the recording. Rather, a visual representation was captured on a lamp black cylinder. It wasn’t until 2008 when researchers at Berkley University used digital technology to recover the audio. The recording, the first ever made, was of a human voice singing Au Clair De La Lune. Written and produced by Michael Begg Mixed and mastered at Captains Quarters, East Lothian A Moon That Lights Itself was premiered at the Royal Scottish Academy, Edinburgh on September 16th 2016, with cello accompaniment from Clea Friend The work was commissioned by National Galleries Scotland, in conjunction with the major exhibition, Inspiring Impressionism: Daubigny, Monet, Van Gogh, and was completed with the generous support of the Hope Scott Trust. https://omnempathy.bandcamp.com/album/a-moon-that-lights-itself REVIEW: "A Moon That Lights Itself was commissioned by the Scottish National Galleries as part of the Inspiring Impressionism exhibition, focussing on the works of Charles François Daubigny, Claude Monet, and Vincent van Gogh. On September 16th 2016, Michael Begg (of Human Greed / Fovea Hex) performed the work, amidst the exhibition space, in the auspicious surroundings of the Royal Scottish Academy situated on the Mound in Edinburgh. Drawing on the works of French landscape artist Charles François Daubigny, Begg's commission was described as a "work for electronics, strings and moonlight". I must confess that of the three artists featured in the exhibition I wasn't at all familiar with Daubigny. Consider Begg's work with Human Greed where their first release Consolation featured a moonface in Deryk Thomas's artwork on the cover; Black Hill: Midnight At The Blighted Star, the title of a later album which included 'Dalkeith Night' speaks for itself; and even Dirt On Earth featured a blackened nightscape on the cover it's perhaps particularly apt that Begg focusses on Daubigny's later work and specifically the twilight and nocturnal scenes of his later years, from which he painted while ensconced on a studio boat on the Oise. A Moon That Lights Itself is set in the context of mid to late 19th century France, and the cusp of impressionism, modernism, together with the earliest known sound recordings by Edouard-Lean Scott de Martinville and his phonautograph invention. A Moon That Lights Itself moves from dusk to dawn in the course of its 9 tracks. From tranquil drones overlaid with tumbling piano notes and solemn cello movements the opening track 'Le Crepuscule' moves into drifting drones before 'Moonrise' which like many of the tracks on A Moon That Lights Itself blends location recordings into the compositions. Here water in the form of lapping waves and crashing waves, bird chatter and the quack of ducks - ducks were a recurring motif within Daubigny's impressionist landscapes - are found amidst passages of glistening drone and moments of sombre piano and cello swell. Still and serene, glinting flourishes merge with stirring movements, its lapping waves resembling the tidal pull, and backward spinning electronics. 'Moonlight' bathes in the glow of light glistening sound textures set against deep reverberating rumbles and piercing glassy shrieks. Bells ring out before it moves into quieter echoed atmospherics. Daubigny often painted from his floating studio on a boat on the River Oise, and 'Le Bottin' aptly illustrates this with watery ripples dappled with tender piano notes and broader sound shudders, flowing into an end section comprising elegiac strings and melancholic synths. With its rippling metallic sounds, harsher noise elements and sluggish voice recordings 'The Birth Of Modernism' is much more abstract in composition. Those voices, taken from the 1860 phonautograms of Édouard-Léon Scott de Martinville, like modernism are almost blown in on a wind like drone. Scott de Martinville's recordings, sensitively mixed as another layer of sound here, were never intended for playback but recent research managed to transform these into playable sound files, discovering a male voice, probably of Scott de Martinville, singing a partial segment of the French folk song 'Au clair de la lune', which fits nicely here as in English it translates to 'In the Moonlight'. Elsewhere on 'The Birth Of Modernism' voices and bird calls are rendered as electronic squiggles, reflecting the movement away from realism to abstraction, perhaps. Begg returns to his palette of location sounds on 'Daubigny's Reverie' where lapping water and duck quack augment the shimmering sound spans. The drone filled atmospherics create a sense of melancholy; a captivating dreamspace only broken by the call and sing of birds in flight. Those flying birds could be seen as sound metaphor for the transition from Daubigny's impressionism to a new world of abstract representations, something furthered on 'Between Two Movements' which unfurls to a two pronged approach where undulating drones and glassy shrill frequencies are cast against evocative classical strings. It could even be electronics, Begg has an uncanny ability to sidestep the listener with his use of instrumentation that sound like something else. 'A Last Dance Under The Moon' moves to doleful cello sweeps and forlorn nocturnal electronics, achieving a graceful and mournful presence, largely due to the Clea Friend's cello score. A Moon That Lights Itself closes with the arrival of 'Dawn', a classy ensemble piece of piano score and cello, contrasting sombre cello movements with more optimistic and joyful piano notes, and as the sounds coalesce it seems to herald the new whilst paying homage to the past. Begg referred to this in a blog for his performance at the Royal Scottish Academy as being a "pochade", a sketch, "for Daubigny, for the moon, and for an extraordinary time in the development of European culture, when our sense of capturing the world around us and within us took extraordinarily bold, though markedly sensitive, steps forward." Recorded immediately after the performance, Begg once again proves himself to be a superlative composer, with a suite of evocative atmospherics using electronics, classical strings and location recordings to evoke the nocturnal workings of Daubigny. A Moon That Lights Itself is bathed in a liminal essence; a quality that defines all his work. From the Human Greed releases Black Hill: Midnight At The Blighted Star, Fortress Longing, World Fair to the Fragile Pitches collaboration with Colin Potter, Michael Begg has been behind a number of great releases. A Moon That Lights Itself now sits alongside those titles as one of his finest solo offerings in a release that is sombre, inventive and utterly captivating." [Compulsion Online]	2016	€13.00
BEHRENDSEN, PETER	10 x 15 = 30	LP + CD	Peter Behrendsen (b. 1943) is a Cologne-based radio producer, performer and composer of experimental music. He started concerning himself with electro-acoustic music in 1972, was a member of Josef Anton Riedl's ensemble and assistant to Klaus Schöning at the WDR radio play studio (Studio for Acoustic Art). He organized numerous concerts and festivals for experimental music in Cologne, most notably BrückenMusik, a series of concerts in the box girder of the Deutz bridge. After Nachtflug / Atem des Windes in 2017, this is his second LP on Edition Telemark. "10 x 15 = 30" is the vinyl mix of a concert for Behrendsen's 75th birthday at the LOFT in Cologne. The full-length recording has been released on CD by Obst Music with the title "Fünf Mal Dreißig Ist Sechzig" ("5 x 30 = 60"). The players were: Peter Behrendsen (electronics), Dietmar Bonnen (prepared piano, glockenspiel), Andreas Oskar Hirsch (carbophone), hans w. koch (axoloti, blippoo box) and Lucia Mense (recorders). What Behrendsen had in mind for the concert was not a programme of solo pieces but a collective improvisation with musicians and visual artists. Being sceptical about conventional "free" (psychodynamic) improvisation, he decided to go with an approach that John Cage called "with the head in the sky – and the feet on the ground": between individual freedom and preconceived rules. The total length of the concert was set to 60 minutes, each player had 30 minutes in sections between 2 and 10 minutes. Their length and distribution was decided by chance. Within their sections players had individual freedom: Musical communication was not mandatory but possible, emerging musical relationships would often be unintentional. Simultaneously, 5 videos by visual artists were projected in random order, again without any intended correlation between sound and video. For the LP, the concert recording had to be adapted in length, i.e. reduced to 2 parts of about 15 minutes each. To maintain the character of a whole, the 60-minute concert was cut into 2 equal parts, mixed down and cut into 2 halves for both sides. The result is a new piece: denser but still transparent, the relationships between the musicians even more abstract – a new composition. Regular edition of 240 in glossy sleeve with artwork by Dietmar Bonnen. Special edition of 60 including the LP, the Obst Music CD with the full-length recording, both in their regular sleeves, and a numbered card signed by all musicians, all housed in a plastic outer sleeve. https://www.edition-telemark.de/923.02.html	2020	€34.00
BEHRENS, MARC	Architectural Commentaries	CD	Architektonischer Noise? Aurale Geometrie? MARC BEHRENS versieht sein Cover mit Fotos von dreidimensionalen Gebilden & Gebäuden und scheint auch soundmäßig neuartige Räume ausloten zu wollen. Hermetischer Minimal-Ambient zwischen Geräusch, Drone und dem Nichts, veröffentlicht auf dem inzwischen von 20CITY in CMR unbenannten ESO STEEL – Label aus Neuseeland. Etwas für spitze Ohren. “ German composer and sound artist Marc Behrens has put forth a beautiful installment of sound work for CMR's second CD release, entitled Architectural Commentaries. Marc has been working with sound (in one form or another) since 1986 and is probably most recognised for his digitally re-worked field material and composition. With a long history of installation work and live performance, he has exhibited alone and in group exhibitions; and performed live internationally in locations such as Japan, Switzerland, Italy, Slovenia, Spain, and the UK. He has completed tours with fellow sound artists Francisco Lopez, Bernhard Gunter and John Duncan and has had notable CD releases on Gunter's label Trente Oiseaux (Germany), Digital Narcis (Japan), Raster Music (Germany) and Intransitive Recordings (USA). Architectural Commentaries is comprised of five tracks. The first three pieces, entitled 'Architectural Commentaries 1-3', are some of Marc's most recent compositions arranged in 2001 using basic material recorded from 1990-2000 in various global locations. Taking title, sleeve images and sound together we are left with new audible environments for architectural structures; jets of forced air and amplified nothing, distant machinery and tiny bites of frequency, faded and cut together to create beautifully atmospheric soundscapes. Track 4 was previously released on RLW's 'Tulpas' 5 CD set (Selektion 024) and was constructed using source material from Ralf Wehowsky. Track 5 was composed in 1992 as a soundtrack to accompany the video Der Raum by Torsten Grosch - stills of which feature on the CD sleeve. The album permits a smooth flow between Marc's earlier and more recent work and shows the artists' continuing exploration into the depth and dimensions of sound recording.” [press release]	2002	€12.00
BEHRENS, MARC + FRANCISCO LOPEZ	A szellem alma	do-CD	" “a szellem álma” (”the dream of a ghost”) is a collaboration between sound artists Marc Behrens and Francisco López, which started three years ago with a joint recording session at Frankfurt airport. Sharing a common pool of mutated sound materials, they have created two parallel sonic worlds inhabited by obscurity, complexity, and resilience. Two long journeys across purely sonic geographies. Crisp, dense, delicate, and full of intricate spaces. Like the dreams of a ghost." [label info]	2004	€20.00
BEINS, BURKHARD / DIRK MARWEDEL / MICHAEL VORFELD	Misiiki	CD	Michael Vorfeld Plays percussion and self designed stringed instruments and works as musician and visual artist based in Berlin, Germany. He works in the field of improvised, experimental music and sound art and is often involved in site-specific art projects. Besides his solo activities he is a member of various ensembles and collaborates with artists from different art forms. His visual work concentrates mainly on the use of light, and he realizes light installations and sound and light performances. His list of activities includes numerous concerts, performances and exhibitions in Europe, the USA and South East Asia. Dirk Marwedel Since 1985 improvised music, related musical concepts and interdisciplinary projects with dance, theatre, sculpture, painting, film, performance, soundinstallation; in several groups as well as a soloist developing technics of soundshaping and preparations which are extending the sonic spectrum of the saxophone far beyond the traditional sound of the instrument. Concerts in Europe and Canada. Lives in Wiesbaden, where he is a founding member and organiser of the HumaNoise congress. He is a group member of WIE?!, Salpinx, Ensemble 2INCQ, Xtrax, DOMINO Orchestra and a duo with Charlotte Hug. Burkhard Beins Plays percussion. Since the late 1980's international festivals, concerts and tours with experimental music throughout Europe und North America. He is a member of several ensembles like Perlonex, Activity Center, Polwechsel, The Sealed Knot, Phosphor and also works with Keith Rowe, Sven-Åke Johansson, John Bisset, Orm Finnendahl, Phil Minton, John Tilbury and many others. More than 25 CDs and LPs, released on labels like 2:13 Music, Zarek, Erstwhile, Hat Hut, Potlatch, Confront and Rossbin www.burkhardbeins.de/groups/misiiki.html	2003	€6.00
BEKAERT, JACQUES	Jacques Bekaert	LP	Originally released in 1981 on the Belgian Igloo label this reissue comes with the same sleeve as originally designed by Alain Géronnez. \\\\\\\\\\\\\\\"A Late Lunch\\\\\\\\\\\\\\\" is the soundtrack to Akiko Iimura\\\\\\\\\\\\\\\'s eponymous movie realized in 1978. It is based on acoustic instruments and field recordings, brilliantly reconfigured and mixed by Bekaert to create a surreal, immersive soundscape. The technique used includes superposition and speed change of recordings, radical sound effects, and juxtaposition of sounds. The players were prominent musicians of the 1970s, including Maggi Payne, George Lewis, David Rosenboom, and Blue Gene Tyranny. \\\\\\\\\\\\\\\"A Summer Day at Stony Point\\\\\\\\\\\\\\\" was composed in 1969, with participation of David Behrman, Shigeko Kubota, and Charlotte Warren. The piece was commissioned by English composer Hugh Davies who presented it at the Harrogate festival the same year. Stony Point is a small village in New York State where John Cage co-owned a small pseudo-commune art resort where like-minded artists gathered. \\\\\\\\\\\\\\\"A Summer Day at Stony Point\\\\\\\\\\\\\\\" is nothing more than a page of a journal, a fragment of a notebook that utilizes a series of sound sources recorded at Stony Point on one beautiful day in the summer of 1968. Other electronic sound sources were recorded at the Brandeis University where Alvin Lucier was professor. The final realization of the piece was done at Henri Pousseur\\\\\\\\\\\\\\\'s APELAC Studio in Brussels, 1969. The soundtrack for Akiko Iimura\\\\\\\\\\\\\\\'s Mon Petit Album was composed on the basis of a simple description of the technique of the film and its time span. It includes David Behrman on alto, from an outdoor recording at Stony Point, plus excerpts from a Transition concert in London, the band Bekaert formed in 1971 with Michel Herr, Takehisa Kosugi, and Ryo Koike, both members of the Taj Mahal Travelers. The atmosphere is quiet and pastoral throughout with a very dreamlike flavor. Edition of 500. \\\\\\\\\\\\\\\"... Gentle threads of instrumental and electronic sounds are mixed with outdoor rural field recordings and occasional voices of his friends speaking, whistling or singing. Bekaert creates a warm environment within which we can hear subtle individual voices of good musicians who are relating to his loosely-notated scores and verbal instructions...\\\\\\\\\\\\\\\" --David Behrman https://metaphon2.bandcamp.com/album/jacques-bekaert \\\\\\\\\\\\\\\"In a truly great moment for reissues, Metaphon delivers one of the best of the year: the first ever vinyl reissue of Jacques Bekaert\\\\\\\\\\\\\\\'s monumental self-titled LP for Igloo from 1981. An unprecedented window into a singular creative mind, including contributions by Takehisa Kosugi, David Behrman, David Rosenboom, Maggi Payne, Georges Lewis, and numerous others, it\\\\\\\\\\\\\\\'s a masterstroke of electroacoustic composition that achieved nothing short of holy grail status for collectors over the years, which manages to entirely recalibrate the listener\\\\\\\\\\\\\\\'s mind. Working at a slow, meticulous pace, for a decade and half, Metaphon - the Brussels based imprint run by Timo Van Luijk - has continuously illuminated fascinating trajectories within a number of historically neglected contexts of electronic music and sound art. Primary focused on work produced in Belgium - with their own criteria of personal taste guiding them well - they’ve produced an incredibly important body of albums that endeavour to respect and supports the music and those who make it. In the midst of an incredible run - having recently released important works by Jan Bruyndonckx, Johannes Fritsch, Toshi Ichiyanagi, Michael Ranta, and Takehisa Kosugi’s - they’re back with the first ever vinyl reissue of Jacques Bekaert’s astounding self-titled LP, originally issued by the seminal Igloo imprint in 1981. A long-standing holy grail for countless experimental music fans, its two sides gather three astounding compositions, created in collaboration with some of the most important voices in 20th Century sound: Takehisa Kosugi, David Behrman, David Rosenboom, Maggi Payne, Georges Lewis, and numerous others. Absolutely incredible and not to be missed. A truly legendary album - issued in a very limited edition of 500 copies on vinyl - has finally returned to our hands. [By Bradford Bailey, 16 December 2022]	2022	€24.00
BELFI, ANDREA & MACHINEFABRIEK	Pulses & Places	CD	"Manche Releases enthalten neben der auralen Qualität auch etwas hübsch haptisches, etwas aus der guten :zoviet-france:-Zeit: ein gediegenes Cover zum fühlen, riechen oder auch mal etwas verquer-komisches mit Kunst- bzw. Antikunstcharakter. BromBron ist das Sublabel von Frans De Waard’s Korm Plastics, eine Serie feiner klanglicher Kostbarkeiten in zwei Sorten Karton eingeschlagen, mit Papierfahne zum Herausziehen und dem Gefühl einer kleinen gezähmten Origamisensation. Machinefabriek und Belfi kommen hier über die bizarre Haptik des Releases hinaus, passend zum geprägten Cover in Form einer alten Landkarte gibt es schnarrige Mikrophonien einsamer Studioklänge, der Stuhl vorm Mischpult darf knarzen und sein kleckeriges Scherflein zum Klang dazugeben, während Belfi Messingschüsseln schrubbt und Zuydervelt alias Machinefabriek seine fein austarierten Klangbeigaben dazurührt. Die vier Titel überspannen sämtliche Zustände im Studio, von gelöster Mikroakribie bis hin zu glacialen Droneschichten, welche so luftig leicht erscheinen, dass es einen fast selbst aus dem Ohrensessel erhebt. Dabei gehen beide Künstler vorsichtig genug um, um dieses lockere Klangsoufflee nicht platzen zu lassen. »Pulses & Places«, Puls und Platz, all das ist ein wahrer Klangbogen voller Kuriositäten, dem Ach!-Gefühl wenn ein wohlvertrauter elektroakustischer Regen aus den Boxen quillt und einem das Gefühl gibt, einfach noch nicht alles gehört zu haben. So muss Musik klingen, die zum Erscheinen der abgedruckten Coverlandkarte noch nicht existiert hat." [Thorsten Soltau, AEMAG] "Korm Plastics is proud to present the ninth release in the Brombron series. Originally a co-production between Staalplaat and Extrapool, it is now hosted by co-curator Frans de Waard. In the year 2000 Frans de Waard and Extrapool started the Brombron project. Two or more musicians become artists in residence in Extrapool, an arts initiative in Nijmegen, The Netherlands, with a fully equipped sound recording studio. These artists can work in a certain amount of time on a collaborative project; a project they always wished to do, but didn't have the time or the equipment to realize. Andrea Belfi (born 1979) is an Italian electro-acoustic musician and composer. He began playing drums at the age of 14, and studied art in Milan, before becoming involved in experimental music in 2000. Belfi is also a member of electronic outfit Medves. In 2002 Belfi began a project titled Between Neck & Stomach, in which he attempted to turn a whole house into a musical instrument, by using sound vibrations to shake various items, such as pots, plates, and cupboards. This project resulted in a CD of the same name, released on the Häpna label in 2006. Rutger Zuydervelt, better known as Machinefabriek, lives in Rotterdam, The Netherlands. Started as Machinefabriek in 2004, he released 40+ small run home-made cdr's as well as work for Type Records, Lampse, Digitalis, Staalplaat (Mort Aux Vaches) and now 12K. A double remix cd was released in 2007, with interpetations by Alva Noto, Pita, Mitchell Akiyama, Xela, Gert-Jan Prins and many more. Collaborations (live or recording) include Steinbrüchel, Jasper TX, Wouter van Veldhoven, Simon Nabatov, Frans de Waard, Aaron Martin and Peter Broderick. A striking collaboration took place between Belfi on drums and assorted small percussion and Zuydervelt on guitar and organ. Together they produce the 'pulses' and 'places' mentioned in the title. Organic yet partially improvised, it resembles a kind of sonic geography. The listener is taken away for a journey of mild drones, soft yet outspoken percussion. A strong release. Design by Gerco Hiddink" [label info] www.kormplastics.nl	2009	€13.00
BELLERUE, BOB	Music of Liberation	do-LP	Bob Bellerue's new double-LP, "Music of Liberation," is a careful and intricate album of textured drone and shapely noise. Like the greatest works by post-industrial masters David Jackman (Organum) and Steven Stapleton (Nurse With Wound), its power lies not in harshness, but in dynamic spectral intensity. These are minutely composed pieces with very great attention paid to timbral details and variances. Through the last few years, Bellerue has released a series of highly acclaimed long-form classics of tactile noise, including 2014's "Hollow Body" (Los Discos Enfantasmes), 2015's "Damned Piano" (Anarchymoon Recordings), and 2017's "Yamaha Deluxe" (iDEAL Recordings). These are in addition to more concise releases for labels like No Rent, Banned Production, Phage Tapes, and others, issued in a lava-like flow since the start of the millennium. And with "Music of Liberation," Bellerue's singular brand of volcanic aesthetics has reached a point of near-Hellenic refinement. The four pieces here are controlled eruptions, seeping slowly with the force of geologic synthesis. There is a subtle poignancy at work here too: "Music of Liberation" is dedicated to Bellerue's friend and collaborator, Z'EV, who passed away during the final stages of finishing the double album. The late experimental percussionist/sound artist shared a certain sensibility and approach with Bellerue, as both artists have a longstanding interest in the power of metallic resonance, poetic dissonance, and composition in-situ. "Music of Liberation" (née "Música de Libertação") was recorded in April 2016 at Sonoscopia (Porto, Portugal), in a raw session balancing drone feedback states with instrumental and vocal elements. The session was made possible through a variety of borrowed equipment and instruments (acoustic bass, shruti box, bowed gongs), which led to techniques and content which diverge from Bellerue's canon of work with surprising melodic moments. The unfamiliar instruments lent an inscrutable, organic quality to Bellerue's emotionally charged metallurgy. To bring out more full-spectrum sound, the recordings were played back in the old marble and plaster cavern of Issue Project Room in Brooklyn (where Bellerue works), to harness the resonant acoustics and add depth and dimension to the mono source recording. In Bellerue's realm, volatility frequently gives way to passages of sustained beauty, compelling all those journeying with him from instability to lucidity; from repression to liberation. “In the realm of noise and experimental music, Bob Bellerue elevates his recordings beyond the mere level of harshness into three-dimensional soundscapes that can be felt as well as heard.” - Chuck Foster, The Big Takeover Bob Bellerue is a noise composer, experimental musician, and creative technician based in Brooklyn NY. "Music of Liberation" has been released by Elevator Bath as a limited edition double LP, mastered for vinyl by James Plotkin https://elevatorbath.bandcamp.com/album/music-of-liberation	2018	€25.00
BERG, MOLLY / OLIVIA BLOCK / STEVE RODEN / STEPHEN VITIELLO	MOSS	maxi-CD	"Edition of 500. Moss, is a live recording from a unique collaboration by sound artists/musicians Molly Berg, Olivia Block, Steve Roden and Stephen Vitiello. This was a midnight concert at the beautiful Trinity Cathedral in San Jose, CA which was part of the 01SJ Biennial. Olivia and Steve had performed solo sets on the previous nights. The final night was meant to be a duo with Molly and Stephen but the opportunity to play with musicians/friends who we admire so much called out for an invitation to play together. As the set was entirely improvised, the billing really changed in our minds from being a duo with guests to becoming a quartet. The church itself was certainly inspiring, it’s dark wood and clean dry acoustics. There was a very small but dedicated audience. No one slept and the church crew were able to, amazingly, quiet the rowdy revelers on the street for the duration of their set. Anyone familiar with any of the four musicians involved in this recording will know the level of craftsmanship and attention to sonic tactility that can be found within. They each exercise such incredible restraint, a feat difficult to pull off in an impromptu improvised session where musicians are often found competing for space, and allow for a sense of place to work its way through the quiet recording. “Moss” breathes like a living being lying down to sleep — a delicate wave of hushed field recordings, tape tracks and subtle electronics provides a bed for which Molly Berg’s clarinet and voice (joined at times by Steve Roden) ebb and sway, allowed center- stage, in movements across the piece’s 24+ minutes. Steve Roden and Stephen Vitiello provide guitar (lap steel and electric, respectively) while Olivia Block manipulates the tapes, field recordings and electronics. Moss is a perfect example of how four like-minded friends and musicians can come together at a moment’s notice and create, unrehearsed, a captivating and beautiful sonic landscape. The connection between them as artists is completely evident while at the same time disappearing into the background to allow the piece move like a singular body." [label info] www.12k.com	2011	€10.50
BERG, MOLLY + STEPHEN VITIELLO	The Gorilla Variations	CD	"This is the first full-length collaborative release by Richmond, VA-based musician and sound artists Molly Berg and Stephen Vitiello. The CD title, Gorilla Variations came about from a request for a short-soundtrack from Éder Santos, a Brazilian video artist who Vitiello has worked with for 20-years on an uncounted number of projects. For Santos' recent video installation, Boxing The Game, Éder asked for a 3-minute soundtrack to accompany a video portrait of Idi Amin, a lonely gorilla housed in the Belo Horizonte Zoo. Molly and Stephen recorded a 40-minute improvisation, straight to a stereo hard disc recorder (no overdubs) with the intention of choosing 3-minutes to send to Santos, the bulk of the material from that session becoming the basis for this CD ('Variations' 1, 2, 3, 4, 5). The 'Variations' include layers of looped electric guitar, clarinet, voice, whistling and samples played from laptop and from Molly's Fischer Price cassette player. For Stephen this is a return to playing guitar, the first time in 6-years. A desire for melody to accompany voice was certainly an impulse to play again, as were recent collaborations with Machinefabriek and with Steve Roden, both of whose use of guitar offered useful reminders of what a nice thing it could be to play again. Additional tracks on the CD were performed, edited and performed again over a period of 6-months, drawing primarily on improvisations but also allowing for healthy doses of editing and processing in post-production. Field recordings from sites in and around Richmond are heard throughout. Recurring characters include the 14 hunting beagles in Stephen's neighbor's yard. Throughout, a shared desire to bridge songwriting with soundscape, melody with texture shape the intention of the project." [label info] www.12k.com	2009	€14.00
BERTHLING, ANDREAS	InvalidObject Series (with)	mCD	Das irische FÄLLT-Label hat auf einen Schlag ein Kompendium zur neuen digitalen laptop / click / glitch / IDM – Musik herausgebracht ! Das sind 24 mCDs mit allerlei bekannten und unbekannte Vertretern dieses jungen Genres. Wir haben die meisten da, hier eine Übersicht ! Limitiert jeweils auf schamlose 250 Stck ! “ The invalidObject Series was established in 2000 as a sublabel of Fällt to release a finite series of twenty four 3"CD/.mp3 works. Offering a unique perspective on a diverse range of musical output at the turn of the millennium, the Series features work by some of the most respected artists operating within the field of '.microsound' and has been described as "a remarkable document of a vibrant artistic community and a critical moment in the evolution of digital music" (Philip Sherburne), "a showcase for the extraordinary range of practical approaches within contemporary electronic music" (Matt Ffytche, The Wire) and, simply, "impressive" (Rob Young, Editor, The Wire). “ [label press release}	2000	€7.00
BEYOND SENSORY EXPERIENCE & MOLJEBKA PVLSE	Zielona Gora	CD	"We at Ur Muzik headquarters love Sweden... and we are proud to present our very first release 'Zielona Góra' by the well known Swedish acts Beyond Sensory Experience and Moljebka Pvlse. Both bands were invited in April 2008 to play a concert in Zielona Góra, Poland. After the concert the two bands joined together on stage and recorded the raw material for this release. This material was then taken to chilly Stockholm and reworked by the artists. The result is a monumental, 70 minutes long, dark ambient work that unifies the excellence of Beyond Sensory Experience and Moljebka Pvlse's worlds. Released as a digipack and limited to 500 copies only. 5 tracks 70min." [label info] www.myspace.com/urmuziklabel	2009	€13.00
BIANCHI, MAURIZIO (M.B.)	Ludium	CD	"A long and almost “solemn” track built with reverberated piano notes, a slow and rhythmical flow leaned on a background made of clashing hisses and vague, distant, rustling ambient noises… A brief interval based on obscure drones moving in circles, inexorably entangled on themselves… Therefore another long piano-based track, this time more dilated, confused, ethereal and prim, so much that it takes the distinguishing features of an indecipherable sonic mass, abstract and booming, estranging, deep and psychedelic…A few and minimal elments, “directed” in a masterly fahion and assembled in an absolutely fundamental work, from the brightest mind of Italian experimental scene and of all the music “without compromises” of the last thirty years… One of the last contributes to the History of Music from an artists that, even in a phase of extraordinarily and unstoppable creative mood, has recently choose and officially announced to quit his long artistic activity. Simply essential." [label info] www.silentes.net	2009	€13.00
BIG CITY ORCHESTRA	Eerily	CD	"Underground is a difficult term. Perhaps its best defined as Do It Yourself. Not looking for the next record deal, or moving from CDRs to CDs and never wanting to do CDRs again. That sort of attitude. If one band live up to that, then today my choice would be Big City Orchestra. They have been around for ages, releasing on all formats the world of music saw, but never gained 'fame' in any way. And perhaps that's good. Let's have them underground, with us. Here for instance is a new CD by Das, the master mind behind Big City Orchestra since the beginning, but also members like Cliff Neighbours, Ninah Pixie, Univac, Jonathan Segal, Melissa Margolis and as a special guest David Aellen of Gong fame. Although Big City Orchestra was never fixed into one musical genre, there is, throughout the years an overall idea to be noted. Roughly somewhere in the grey area of ambient music, drone, narrative music and perhaps all touched with a sense of psychedelic music. These six new pieces here sum up this very well. No doubt largely conceived in the world of warm, analogue synthesizers and guitars with lots of effects. The result is an eerie (sorry, couldn't help that one), desolate sound piece with very slow, minimal shifts. Maybe to some extent they still sound the same as back in 1987 when they released cassettes, but luckily it sounds much richer now on CD. The underground is not about sticking to hissy cassettes out of some perverse love of retro, but finding the best ways to express yourself, without keeping any notion about the overground. In that respect to people who want to hear a band develop, then Big City Orchestra might be the wrong place to turn to, but I think this is great music. Mood music, dark night, late night music. Music that has not been made to please the big crowd, but a small but caring community of truly devoted fans. I may not be one, simply because I don't have everything they made, I certainly rank myself as someone who is always keen to anything new by them. 'Eerily' is a great CD." [FdW / Vital Weekly] "One of the most idiosyncratic and original groups of the past two decades, BCO is not your standard Orchestra. Situated in the greater San Francisco Bay Area, the band has released an enormous catalog of recorded material over the past two decades. Formed in the late 1970's the ensemble continues to maintain a free-flowing roster of artists from around the world that collaborate on specific projects. Categorizing the Orchestra into any given genre can be a task, as releases continue to surprise even the most devout listener. There is never any way to precisely classify the next BCO release. Featuring original members and introducing special guests such as Daevid Allen (of Gong fame) and Jonathan Segel (Camper Van Beethoven) BCO 'Eerily' tracklist : 1. Garuda 2. Mister Jones 3. Protectionraga 4. Zhong Kui 5. Pink Swirl 6. Chnubis 7" cover including a unique silkscreened inlay produced by the members of BCO/Ubuibi." [label info] www.eetapes.be	2009	€13.00
BIOSPHERE	Dropsonde	do-CD	"Dropsonde was originally released by Touch (UK) in 2006. This is a reissue with seven previously unreleased recordings. Widely regarded as one of Norwegian electronic music's most important artists, Biosphere's [Geir Jenssen] career spans nearly two decades, several albums, lots of remixes, various sound installations, commissions, soundtracks and even the odd Himalayan summit. You may recognise his work without knowing it, so frequently does it crop up on TV trailers and idents. In the early 1990s he was a pioneer of so-called 'Ambient Techno', but since then, he has refined his sound into something more magnetic and enduring. Dropsonde' isn't a soundtrack like the interwoven 'Substrata' nor an episodic journey in the way that 'Autour de la Lune' is. Here Geir Jenssen is pushing new directions towards the jazz colours of Miles Davis and Jon Hassell, whilst re-invigorating the pulse and projection of his signature sound: a hypnotic combination of pleasure and dread. The spatial aspects some have dubbed "Arctic sound" but it summons strong feelings, or as Exclaim from Canada put it, "in order to climb higher, you must first go deeper". Jon Savage adds: "As with all of the Biosphere albums, the music draws you in and makes you want to listen and feel. Jenssen's work acts on a very emotional level, one that encourages you to drift away into a haze of images and scenes brought to you by the music, where spectacular beauty hides unseen danger. Intense and moving, but comforting and soothing at the same time." [A 'dropsonde' is a weather reconnaissance device designed to be dropped from an airplane or similar craft at altitude to take telemetry as it falls to the ground. It typically relays information to a computer in the dropping airplane by radio. The fall may be slowed by a parachute. Information collected by a typical dropsonde may include wind speed, temperature, humidity, and atmospheric pressure.] https://biosphere.bandcamp.com/album/dropsonde-reissue-with-bonus-album	2020	€16.00
	Dropsonde	3 x LP	"Dropsonde was originally released by Touch (UK) in 2006. This is a reissue with seven previously unreleased recordings. Widely regarded as one of Norwegian electronic music's most important artists, Biosphere's [Geir Jenssen] career spans nearly two decades, several albums, lots of remixes, various sound installations, commissions, soundtracks and even the odd Himalayan summit. You may recognise his work without knowing it, so frequently does it crop up on TV trailers and idents. In the early 1990s he was a pioneer of so-called 'Ambient Techno', but since then, he has refined his sound into something more magnetic and enduring. Dropsonde' isn't a soundtrack like the interwoven 'Substrata' nor an episodic journey in the way that 'Autour de la Lune' is. Here Geir Jenssen is pushing new directions towards the jazz colours of Miles Davis and Jon Hassell, whilst re-invigorating the pulse and projection of his signature sound: a hypnotic combination of pleasure and dread. The spatial aspects some have dubbed "Arctic sound" but it summons strong feelings, or as Exclaim from Canada put it, "in order to climb higher, you must first go deeper". Jon Savage adds: "As with all of the Biosphere albums, the music draws you in and makes you want to listen and feel. Jenssen's work acts on a very emotional level, one that encourages you to drift away into a haze of images and scenes brought to you by the music, where spectacular beauty hides unseen danger. Intense and moving, but comforting and soothing at the same time." [A 'dropsonde' is a weather reconnaissance device designed to be dropped from an airplane or similar craft at altitude to take telemetry as it falls to the ground. It typically relays information to a computer in the dropping airplane by radio. The fall may be slowed by a parachute. Information collected by a typical dropsonde may include wind speed, temperature, humidity, and atmospheric pressure.] https://biosphere.bandcamp.com/album/dropsonde-reissue-with-bonus-album	2020	€32.00
BIOTA	Fragment for Balance	CD	After 4 years of work on their 11th release for ReR, this extraordinary, reclusive, and highly individual audio-visual collective continues to evolve through the painstaking accumulation and disposition of a seemingly incompatible range of both exotic and familiar musical languages, instruments, techniques and studio manipulations into one of the few genuinely original bands at work today. It took a long time to refine their unique process of composition to this level of ambiguity and depth and newcomers will wonder how they strayed so far from orthodoxy and yet managed to retain a lucidity and transparency that is quite rare in contemporary music. Timeless, almost weightless - yet teeming with life, motion and complexity - this is a music that suggests an untroubled world in which nostalgia, tragedy and agon, while rudely present, remain subservient to deeper, calmer currents. Sic transit gloria mundi. The bullet points are that Biota is a unique project, defying genre with, like all such cult artists, a small but extremely dedicated public that, over the last 15 years has grown continuously as new listeners discover them. BIOTA Founded in Colorado in the late 1970s, Biota's first recordings were released under the name of the Mnemonist Orchestra who, between 1980 and 1984, released five albums on its own label, before linking up with ReR in 1984. That was also the year in which they split into an independent visual arts collective - retaining the Mnemonist name - and the recording project, Biota. Since then, their releases have presented the work of both groups in tandem. http://biotamusic.com/ https://biota.bandcamp.com/album/fragment-for-balance "Für ihren 11ten bei Recommended Records (oder ReR Megacorp) veröffentlichen Tonträger (EP, LP oder CD) haben sich Biota aus Fort Collins in Colorado wieder etwas mehr Zeit gelassen. Nachdem 2014 "Funnel to a Thread" erschienen war, legte man erst einmal eine längere Pause ein, um dann vom Frühjahr 2016 bis in den Herbst 2018 hinein das neue Album einzuspielen. Das Ergebnis - "Fragment for Balance" - wurde schließlich im Frühling 2019 veröffentlicht. Das Album kommt in einem bunten Digipack, versehen mit einem dicken Beiheft voller expressionistisch-tiefsinniger Bilderwerke. Die ersten 150 Exemplare beinhalten - wenn man direkt beim Label bestellt - zudem einen kleinen Pappschuber, in dem ein originale, von Tom Katsimpalis gestaltete Bildcollage steckt. Sehr edel! Offenhörlich haben Biota ihren Stil gefunden, bewegt sich doch die auf "Fragment for Balance" zu findende Musik in sehr ähnlichen Gefilden, wie die des direkten Vorgängers. Die Besetzung ist zudem identisch. Allerdings scheint mir "Fragment for Balance" etwas homogener und klangvoller voran zu fließen. Eine recht eigenartige folkig-elektronische Kammermusik gibt es auf "Fragment for Balance" zu hören, oder einen seltsamen elektronisch-kammermusikalischen Avant-Folk, bestimmt von filigranem Akustikgitarrengeschrammel, Violinenklängen, allerlei Blaswerk, analog-elektronischen Tastensounds, Piano, Harmonium, Akkordeon und diverser Perkussion. Deren Tonerzeugnisse werden (teilweise effektverfremdet) mit verschiedensten Elektronikgebilden, komplexen Tonskulpturen und prozessierten Klangfragmenten unterlegt, bzw. von diesen verwoben, so dass sich das Album als lange und vielteilige, elektronisch-akustische Suite voran arbeitet, bei der die einzelnen Nummern ineinander übergehen. Über all dem schwebt Kristianne Gales wunderbarer, gälisch-folkiger und ätherisch-luftiger Gesang. Im Vergleich zu früheren Alben, insbesondere denen aus den 80er- und 90er-Jahren des letzten Jahrhunderts, ist die rezentere Musik von Biota eher ruhig, fast sanft gehalten, wobei dieselbe immer ausgesprochen unkonventionell dahin gleitet. Dies trifft auch auf "Fragment for Balance" zu, welches stilistisch Folk, experimentelle Elektronik, moderne Kammermusik und eine Art von Avantrock zu einem dichten, sehr homogenen und seltsam gewichtslosen Ganzen vereinigt. Sorgfältig geplant und komponiert arbeitet sich die Musik voran, dissonant aber friedlich, gleichzeitig erstaunlich harmonisch, rund und vertraut, dann aber wieder sperrig und ausgesprochen fremdartig. E-Gitarre, Bass und Schlagzeug sorgen dafür, dass es immer mal wieder rockt, doch arbeitet sich der Großteil der Musik eher formlos voran, ohne aber auf Struktur und Zielstrebigkeit zu verzichten. Momente unglaublicher, fast absurder Schönheit wechseln sich mit schrägem Plingen und Hallen ab, mit voluminös-symphonischen Tonschüben, wolkigen Klanggebilden, akustisch-kammermusikalischen Abschnitten, dynamischen RIO-Prog-Momentaufnahmen, repetitiv-minimalistischen Exkursen und wirren Tondurcheinandern. Chris Cutler bezeichnet Biota als eine der 'few genuinely original bands at work today', und dem möchte ich durchaus zustimmen. So wie Biota klingt derzeit keine andere Band auf dieser Welt. Wer progressive Musik in einem folkig-elektronisch-freiformatigen Kontext schätzt, der sollte "Fragment for Balance" (und "Funnel to a Thread") kennen." [Achim Breiling / Babyblaue Seiten] "As obvious as this may sound, the years run way faster as one grows older. When Biota announced the release of Fragment For Balance, my delight in receiving a new bulletin from the collective “after not so long” was soon replaced by the mild shock of realizing that their previous outing Funnel To A Thread had been published in 2014. I wasn’t paying attention to all those months flying away (to paraphrase another title from the group’s discography). Even worse, this period was rendered heavier by two major losses in Biota’s universe. In 2015, visual artist Joy Ann Froding left this planet following the successful surfing of an ocean wave; in 2018, multi-instrumentalist Charles “Chuck” O’Meara (formerly Vrtacek) suffered a heart attack while he was cutting wood to warm his winter. In the sadness, it is somewhat relieving to note the natural ambience of these occurrences, presuming that Froding and O’Meara were in a comfortable place inside when the call from nowhere came. The album is dedicated to them, and the artwork commemorating the pair on the accompanying booklet – a flower and a bird embedded in unique Mnemonists shades – nearly caused this writer’s tired eyes to well up. That ear-gracing piano inevitably puts the soul in “still here with us” mode; Chuck was, and forever will be, a certified Biot. Every single snippet of the multitude of sketches, proposals and fully fledged visions represents a piece of fertile ground for sensible roots. Yet the process of absorption doesn’t really happen through the listener’s mind, exploiting instead the most unconventional features of sympathetic resonance. There’s always been a touch of magic in William Sharp’s slight defacement of arrangement and equalization, be it a chiaroscuro of off-key echoes or the enhancement of quietly intertwining arpeggios. Throughout the 26 (!) consecutive tracks comprised by the program – duration from 0’38” to 9’48” – the achievement of a flawless amalgamation of tunings, melodic intelligibility and aural daydreaming remains at the core. The instruments shine brighter than ever, with particular regard to guitars (Tom Katsimpalis and Mark Piersel) and violin (David Zekman). They seem to trace coordinates and paths to places of blinding light amidst the hand-woven textural patchworks and gentle superimpositions informing the orchestration. Apropos of that, flashes of enlightenment are born from the melting of a larger number of voices (including Kristianne Gale’s apparitions, a singing mermaid in a sea of wistful refractions). Keyboard constructions totally deprived of preset futility lie at the basis of revealing harmonic disseminations, Gordon Whitlow’s accordion and Hammond organ strengthening the sonic tissue with typical wisdom. Also notable is the role of Randy Miotke, his trumpet and flugelhorn supporting the contrapuntal constitution, and its various transmutations. Larry Wilson’s drums emerge in unexpected spots, attributing hues of temporal non-existence to otherwise regular rhythmic cells. And so on and so forth, one would have to conclude. It’s been decades by now, yet attempting to describe the essences emanated by Biota’s garden still makes me feel stupid, or useless, or both. Nevertheless, the sensation of understanding a little morsel every time – of the music itself, of the fight against big-mouthed superficiality, of the painful impossibility of communicating with lesser levels of perception – is incomparable. In less than ten minutes, a track like “Walking Is Missing” teaches much more than the millions of words spewed by cretins most everywhere. When that packet from Colorado materializes, my gradually greying beard doesn’t matter anymore. All it takes is sniffing the cover’s scent, observing once again the profound art of human beings who do not accept commands, or foolish indications, by anyone. And, of course, spinning the disc without putting the finger on the whys and the whos. Just intuiting the actual reasons of aliveness, and envisioning our future merging with the meaningful consequences of the acoustic laws. Or, as good ol’ Chuck would have it, “learning to be silent”." [Massimo Ricci]	2019	€15.00
BJ NILSEN / JUDITH HAMANN / SIGTRYGGUR BERG SIGMARSSON	Heiligenstadt	LP	BJ Nilsen is a Swedish composer and sound artist based in Amsterdam. His work primarily focuses on the sounds of nature and how they affect humans. Recent work has explored the urban acoustic realm and industrial geography and mining in the Arctic region of Norway and Russia. His original scores and soundtracks have featured in theatre, dance performances and film. Judith Hamann is a cellist and performer/composer from Melbourne, Australia, now based in Berlin. Her performance practice stretches across various genres encompassing elements of improvised, contemporary classical, experimental, and popular music. She has studied contemporary classical repertoire with renowned cellists including Charles Curtis and Séverine Ballon, and developed a strong practice in improvisation and sonic arts through collaborative projects both in Australia and internationally. Sigtryggur Berg Sigmarsson is an Icelandic musician, painter, sound- and performance artist and founding member of Stilluppsteypa. He studied sound art in Hannover, Germany from 1998 to 2003, where he is currently living. His musical output has been variously described as collage, quiet drone manipulations, and calm and minimal, which offers a range of still, contemplative moments, contrasted with more discordant (though not necessarily noisy) ones. Heiligenstadt is the documentation of an encounter of the three artists in 2018. https://fragmentfactory.bandcamp.com/album/heiligenstadt "On the other new release, the modus operandi was a bit different. Here it was Judith Hamann who send in sound material to use by Nilsen and Sigmarsson. These included her playing the cello, field recordings and voice, all of which were processed by the other two, who also both worked on the final mix. While you could say that this release is also an example of modern musique concrète, I would think it works a bit differently here. First, there are no individual pieces here, but each side is a single piece, but within the piece, the music moves around to various settings. This processing might be a combination of both digital and analogue means; I believe I heard some reel-to-reel manipulation in the music. This record is what Nilsen and Sigmarsson do best and that is to create long-form sound collages, in which drone elements prevail, but it is not exclusively that. These drones are intercepted with untreated field recordings (side A) and quite a bit of cello (side B), where it is all melts into a gentle but massive drone; a multitude of cello voices, but with a clear definition, which is great (of course). The B-side is the one that has the least variation, with these drones continuously running around and is the mixing work of Sigmarsson . The A-side (mixed by Nilsen) is the collage approach of this trio, a variety of drones, field recordings and slowed down piano sounds. I am sure I said it before, but in much of the work of Nilsen and Sigmarsson there is an influence of early Hafler Trio music (well, anything up to 'Kill The King', I'd say), and their work can easily meet with the best of the Trio. This new work is no different; this is another manifestation of what they do, and they do a great job, once again. They have an impressive body of work, going from strength to strength." [FdW/Vital Weekly]	2021	€20.00
BJERGA, SINDRE & FABIO ORSI	Faded Brown and Grey	CD	"In October 2013 Orsi and Bjerga recorded a work of haunting beauty in the Extrapool studio. A delicate, precise mixture of Orsi's guitar playing and Bjerga's microcassettes, contact microphones captured in a myriad of electronics. Warm music, intense, yet also dark - like various shades of gray, brown and black. The cover features photographs by Fabio Orsi. Limited to 300 copies." www.kormplastics.nl "The Brombron project started in 2000 and is an initiative of Frans de Waard and Extrapool. Two musicians become artists in residence in Extrapool, a space for art in Nijmegen, the Netherlands and have the possibility to do recordings in a fully equipped sound recording studio. The collaboration between Fabio Orsi from Italy and Sindre Bjerga form Norway is a wonderful mix of beautiful sounds. Fabio Orsi is specialized in creating atmospheric drones by guitars, old keyboard and field-recordings. He released music all over the world and did collaboration with a lot of other musicians. Sindre Bjerga is active since mid-nighties and released more that 100 records on labels worldwide. He creates his drones by microcassettes and contact microphones in combination with a lot of electronics. The result is five intense pieces of music. The first track is a short fragile track with some fine sounds and is followed by a composition with an on-going tone and concrete sounds are coming up and fade away. The track develops into an electronic on-going changing sound layers and flows into a melancholic melody played on an electric guitar. The following droney track has the same concept of an on-going and slowly changing tone. The fourth track is a beautiful mix of several sound layers, which create a dark ambient atmosphere. Concrete sounds crack the threatening atmosphere and sphere changes to more chaotic and aggressive. The last track is very strong. The track starts in silence with a droney dark tone. The guitar of Orsi goes on and on and he plays louder and louder with a lot of intensity. The sounds of Bjerga like looping screams or a yelling mass guides the massive guitarsound. Great album, highly recommended for lovers of drones with a taste of experiment." [JKH/Vital Weekly]	2014	€10.00
BJERGA, SINDRE & MICROMELANCOLIE	Invisible Paths	CD	"Another instalment in the ongoing collaborative mail-art series by the duo of Sindre Bjerga and Robert Skrzyński aka Micromelancolié. The first is a well-known Norwegian sound artist that works alone and in many projects (including the excellent drone Star Turbine) and runs the label called Gold Soundz. Robert Skrzyński does not slow down his creative momentum appearing for the first time on Zoharum with a collaboration (after highly acclaimed albums "It Does not Belong Here" by Micromelancolié and "Najas Flexilis Exequiae" by ForrrestDrones). The two parts of the title composition included on the album "Invisible Paths" is a continuation of sound exploration by both artists. The duo put on a more modest sonic arsenal than on the previous releases, which does not reduce the quality of these two recordings. In these collages there is a place for ambient textures, surreptitiously recorded conversation, oily drones, and even a little bit of tape music. Here and there scraps of melody emerge from from the bubbling magma, although, in contrast to "Prayer Calls" for example, they only serve as ornaments. "Invisible Paths" is an exercise in focusing attention of the listener, but it's a risk worth taking. The album is released in a 3-panel ecopak in a strictly limited edition of 300 copies. The cover is designed by Rutger Zuydervelt (aka Machinefabriek). It is mastered by Claus Poulsen (the Danish half of Star Turbine duo). The whole production process is overseen by Michał Porwet." [label info] www.zoharum.com	2015	€12.00
BJERGA, SINDRE & NILS ROSTAD	Live at Moving Furniture Records	CD-R	"Split album between Sindre Bjerga and Nils Rostad recorded live at Moving Furniture Records HQ on 8-03-2011. The CD-R comes in handmade eco-pack sleeves with pictures of both artists glued on them. The names are handwritten on each side. There is also a hand-numbered pro-printed insert. Includes unlimited streaming of Live at Moving Furniture Records HQ via the free Bandcamp app, plus high-quality download in MP3, FLAC and more." [label info] www.movingfurniturerecords.com	2011	€7.50
BLACK SUN PRODUCTIONS	Chemism	CD	"Black Sun Productions' new album consists of 14 tracks of tribal electronica and it stands as the most rhythmic output to date coming from Massimo & Pierce and their fellow Children of the Black Sun. The wooden sound of the marimba in combination with flutes and drums merging with very European sounding violins will reveal to the listener a new and pleasantly suprising attitude in musick-making of this collective of sound artists. The mutating precision of Pierce’s electronics is here counterpointed by Massimo's sonorous, deep vocals. Eschewing the melancholy of the double disc The Impossibility of Silence, BSP seems to have moved with CHEMISM into an electronic semi-operatic mode. Some of the album's tracks were written and performed in collaboration with draZen and Bahntier. CHEMISM features Val Denham and Ariot Fleischmann on additional vocals, Roman Hollenstein on drums and Roberto Budelo on violins. Dedicated to William S. Burroughs on the 10th anniversary since his death, CHEMISM is possibly the most original sonic statement of Black Sun Productions and it consacrates Massimo & Pierce as a truly eclectic duo of performers and producers. Coming into a 6panels digipack fully illustrated by Jacopo Camagni and Marco Felicioni of Studio Dronio." [press release]	2007	€13.00
BLACK TO COMM	Fractal Hair Geometry	CD	"Black To Comm is the solo venture of Dekorder label boss Marc Richter. Having released two and a half albums on his own label he is slowly establishing himself as one of the more prolific drone artists out there with a forthcoming album on the American Digitalis label, a collaborative CD with Datashock on Ikuisuus, a 7" on the Irish Trensmat label and a collaboration with Xela in the works. "Fractal Hair Geometry" is Richter's most refined and original work to date, picking up where the electrifying drone works of his monumental Double-LP left off. Like the last records this album is centered around recordings of a variety of vintage organs. While "Wir können leider..." often featured pure harmonium sounds and spacious recordings of chuch organ and mellotron, the new album opts for a more electronic, effects-laden sound, sending an old Farfisa Compact Deluxe and Casio SK-5 through an armada of analogue & digital effects pedals. The results are massive one-chord drones layered into dense & ecstatic, flickering & pulsating clusters of psychedelic electronic sound. Additional wordless vocal effects, hyperventilating & sizzling drum machines and hypnotic violin and guitar noises make for a hyperactive sound that never stands still even though most of the music is pure drones (sometimes consisting of more than 50 recording layers). Decidedly simple but gorgeous melodies shine through the mist from time to time, making a Black To Comm record always much more accessible than your average drone album. There's even a heavy 4/4 bass drum smuggled into a track dedicated to the late Leigh Bowery, one of the most enigmatic creative figures of the mid-80's UK club scene (and singer of Minty). Guests include Jonna Karanka (aka Kuupuu) on piano, Guido Möbius on trumpet and current Black To Comm (live) band members Renate Nikolaus on violin and Ulf Schütte (of Datashock, Aosuke, etc.) adding electronic sounds. Along the lines of the music, seminal German artist Oliver Ross has created a massive multi-layered neon-coloured collage artwork which is printed on special ultra-heavy cardboard stock." [label info] "..Chanted vocals, whirring organs, mysterious shimmers, squiggly melodies, buzzing Theremins, electronic glitches, analog synths, wheezing harmoniums, and those are just guesses, cuz just like that museum exhibit, it's difficult to tell what the source sounds are. We also didn't try that hard. It's like trying to peek under the table to see how a magician does a trick. We don't want to know. It's more fun to get lost in these mysterious sounds. One track even introduces a muted techno throb, and for a brief second it sounds like the weirdest record Kompakt never released. It's really hard to describe this stuff, which is probably why we like it so much, check out the sound samples, and hear for yourself!" [Aquarius Records review] www.dekorder.com	2008	€13.00
	Seven Horses for Seven Kings	do-LP	2xLP packaged in a gatefold jacket with black inner sleeves. A limited quantity is pressed on one of a kind green mashup vinyl. Check out the unboxing here! CD version in 4-panel mini-LP style gatefold jacket. Black To Comm is the solo project of German sound artist Marc Richter. Through his output both as an artist and through his eclectic Dekorder label, Richter has established himself as a singular voice of new music. Operating at the fringes of drone and ambient genres, his music is darkly magical and deeply atmospheric, underpinned by a signature surrealism. A relentless sonic explorer, Richter approaches the studio as his instrument, using sampling, analogue production and digital manipulation to offer an almost infinite choice of tones and textures. Audio fragments are liberated from their original context and sculpted into surprising new shapes, creating work that transcends time or genre. Seven Horses For Seven Kings sees Richter reaching out again into the limitless field of sound, summoning forth his darkest and most visceral work to date. Seven Horses For Seven Kings was completed during a particularly prolific period for Richter. Working on a broad range of commissions since his last album - from writing for film and theatre works to composing for art installations, apps and sleep music - generated a flurry of new ideas and influences. Site-specific residencies in particular let Richter shift his focus from melody and song architecture to more abstract sound art. Extensive touring would equally come to inform a key shift in Richter’s music, simulating the raw, unpredictable energy of live performances on record. Rather than ironing out mistakes in samples or his own playing, he exploits or even forces such imperfections. While rhythm has been largely absent from previous Black To Comm releases, here the music seems totally bound to it, from the fractured techno breaks of ”Fly on You”, to the pounding war drums of “Rameses II” and pulsing Mellotron sounds of “Angel Investor”. The album’s breath-taking pace drives Richter’s music to new levels of intensity. Richter’s creative practice is informed as much by careful, attentive listening as it is studio experimentation. Pieces often begin life as a single sound that catches his ear, be it a record from his extensive collection, or something in the natural environment. Samples and instrumentation are sometimes presented authentically, a deliberate reference to an era, place or player, and at other times are twisted beyond recognition. Samples from contemporary artists like Nils Frahm are bent and compounded with fragments of early recorded music and medieval song. Richter blurs the lines between organic instrumentation and digital production to the extent that the two become inseparable. Being able to separate sound from context gives Richter complete command of the emotional impact of his music, imbuing pieces with meaning or stripping it back as he sees fit. While Richter questions whether instrumental music needs to have deeper meaning beyond its sonic qualities, he accepts that the wider world inevitably bleeds into his art. Reflecting the violence and unreality of modern life, Seven Horses For Seven Kings is unashamedly dark, undeniably angry. But rather than be consumed by such emotions, Richter employs them as ecstatic release. Through his mastery of sound, he achieves transcendence through noise, beauty through intensity. www.thrilljockey.com/products/seven-horses-for-seven-kings	2019	€23.50
BLACKSHAW, JAMES & LUBOMYR MELNYK	The Watchers	LP	"The Watchers is a historic collaboration between Lubomyr Melnyk and James Blackshaw. Both artists are well known as composers but here it is their impovisational skills that are on display. First 200 copies of the LP will ship on blue vinyl. CD version is packaged in a heavy duty digipak. I first met Lubomyr Melnyk at a festival called Hea Uus Heli in October 2008. We were both scheduled to play that day and I was very excited to see him perform. Before the show I bought several LPs from him and mentioned as much. Lubomyr (more than modest and courteous, as he always is) asked me what I was doing at the festival and I replied that I was also performing at the festival a little later, to which he responded "I'll come and watch you", before being ushered into the hall to play one of the most staggeringly sonorous and beautiful sets I've ever heard. It was overwhelming, full of pathos and I left the hall with those incredible overtones hanging in my ears for hours. A couple of hours later, I was onstage when I glanced up and saw Lubomyr, true to his word, stood in the audience watching me attentively. I felt incredibly nervous. It's not everyday you get to play for someone who has greatly inspired and influenced your own music. After the show, I packed up my guitar and came out to meet the crowd. The first person who greeted me was Lubomyr: friendly. full of enthusiasm and keen to hear about my music, my processes, the way in which I made music. Yet again, I was overwhelmed - for very different reasons. "You have invented continuous music for guitar!" I don't know if that's true or not, but I can't think of an epitaph that would make me prouder. We also spoke about collaborating that night and via e-mail a while after, but it wasn't until January 2012, shortly after I'd moved back to Hastings, England from Ann Arbor, Michigan and Lubomyr played his first ever show in the UK at Cafe Oto that it came to fruition. John Chantler got in touch, said Lubomyr had a free day after his performance and could I come to London for a day, see what happens? He kindly agreed to record the whole thing. We all met at the Vortex Jazz Cafe around midday. We set up, Lubomyr at the grand piano, me directly facing him with my 12-string guitar and began. I would retune at random between songs and together we would find interesting chord progressions, hints of melodies and ways in which to weave those immense overtones that Lubomyr is able to generate on the piano with those of my guitar. No more than two takes per song. Improvisation, spontaneous composition, whatever you want to call it. Either way, it truly felt as if the piano and guitar were as one - inseparable, parts of a bigger whole, a means by which for two people to make one sound. It never felt forced and never less than engaging. Lubomyr was always humble, jovial and open to ideas. The whole session lasted six hours. I'm not a great improviser. I always want to take that raw creative element that the form brings and work upon it, to distill and refine it further. I think Lubomyr feels the same. But there is something about these recordings that would be incredibly difficult to recapture. A small moment in time, feeling perfectly and wonderfully lost within that sound. I'm honoured. James Blackshaw, October 2012." [label info] www.importantrecords.com	2013	€20.00
BLOCK, OLIVIA	Mobius Fuse	CD	“Sedimental’s release of the second cd from Chicago based electro-acoustic composer Olivia Block titled Mobius Fuse. This much anticipated follow up to her critically acclaimed debut Pure Gaze(sed cd028) continues her rich and unique exploration of both acoustic and electronic sounds reaching a depth and level of emotional intensity rarely heard in the field. Olivia Block is a contemporary composer who combines field recordings, scored segments for acoustic instruments, and electronically generated sound. Her recorded work seeks to introduce, set at play, and ultimately reconcile nature with artifice in the realms of music and sound. In the process, "organic" sound becomes subtly processed, digitized and abstracted; "inorganic" sound becomes self-replicating and animate; and "musical" elements such as chamber instruments are de familiarized from their traditional associations, freeing them to participate in the larger aesthetic possibilities of sound. Her pieces are composed over long periods of time in numerous stages. She often prepares elaborate tape installations in natural sites for field recording sessions which she later integrates into her recorded compositions. In live performance, Block introduces additional elements of paradox and tension: chamber musicians perform scores which accompany pre-prepared tape material, and improvisers (often including herself) interact with "lo-fi" speaker installations and digital recordings. Since its release, her debut solo CD, Pure Gaze (Sedimental, 1998) has been consistently included on radio play lists throughout America and Europe. It was included in Blow-Up magazine's "Top Releases" of 1999 and The Wire magazine's top ten section, "Charts"; and Julian Cowley, in the latter publication, described her as "a composer who demands serious attention." Another of her works, Piece for Scrubbing Tile, was featured in the Modern Museum of Lyon, France in 1998, as part of the Collage Jukebox installation and festival (curator: Jerome Joy). Her recorded works have been used as source material recently by Achim Wollscheid, in his Shifts release (Ritornell/Evolution). Her soundtrack work for Natalia Castro's short video piece, Fire-Fly, helped earn the project the undergraduate video award at the School for the Art Institute of Chicago in 1997. She has recorded with such artists as Jim O'Rourke and Jeb Bishop, and has performed with artists including Pauline Oliveros and Fred Lonberg-Holm. Her radio appearances include WKCR's Live Constructions (Columbia University), WLUW's Something Else (Loyola University), and others. She was a visiting lecturer at DePaul University. She has toured extensively in Japan and has Europe. Olivia Block is self-taught. She started her musical career in Austin, Texas, in the experimental rock scene in which she played electric guitar and trumpet, sang, and created abstract tapes for play during live performances in several bands. Such tape work led her to her next trio, Alial Straa, an electro-acoustic and improvisational group including Seth Nehil ("Tracing the Skins of Clouds," Kaon records), and John Grznich ("Stomach of the sky," Staalplaat; "Absurd Evidence," Bobby J.) Alial Straa's CD, "Tunnels/Stairwell" is currently out on Alluvial records. At present, Olivia Block lives in Chicago. Her next collaborative release, Oil and Water, an electronic composition with Petra Klusmeyer, will be released on Boxmedia records." [label info] www.sedimental.com	2001	€13.50
BOHMAN, ADAM	Burnhill Row	LP	Incredible weird recordings from 1980 from this one half of todays still very active duo BOHMAN BROTHERS ! "1980 was an incredibe year for London's experimental music scene with many different strands. Recommended Records were rereleasing the first two Faust LP's, L. Voag had found 'the way out', Swell Maps were 'in occupied Europe'. Throbbing Gristle and other industrialists were giving plenty of live actions. Nurse With Wound had just released their first LP, as had This Heat. The other great LP on Piano Records by Steve Beresford was also on the shelves. Meanwhile, elsewhere in the capitol Adam Bohman was making his first recordings working with two budget cassette recorders. Bunhill Row was the first complete album of material, but whilst the aforementioned artists were pressing up their recordings and making them easily available via Rough Trade or the Recommended Records shop, Adam's releases remained in tiny cassette editions made for friends or exchanged on the mail art network. So here for the first time is Bunhill Row, released as it should have appeared at the time - on vinyl. It must be said that this is quite unlike any of Adam's other releases, and quite unlike his work with Morphogenesis, or his work as one half of The Bohman Brothers. This is 'songs' - 30 in all, and the main instrument used is a trumpet (an ordinary trumpet), along with a variety of other acoustic instruments and objects, many of which are still part of the Bohman armoury as known. The overall feel sits somewhere between R. Steevie Moore and Caroliner Rainbow, but this is British of course. Somehow it all works, and all in all opens another window on to the incredibly fruitful astral alignment that occured over London at this time. Adam also has a solo CD on Paradigm Discs, and also appears on 'Variations - a London compilation' the first CD released on Paradigm Discs." [label info] www.stalk.net/paradigm	2006	€17.50
BOLANOS, CESAR	Peruvian Electroacoustic and Experimental Music (1964-1970)	do-CD	"César Bolaños is one of the leading artists of the Latin American avant-garde of the mid 20th century. Born in Lima, Peru in 1931, he was part of an astonishing generation of Peruvian composers: Edgar Valcárcel, Olga Pozzi-Escot, Alejandro Núñez Allauca, Leopoldo La Rosa, Enrique Pinilla and Celso Garrido-Lecca, among others. After studying piano at the National Conservatory in Lima, and following classes with the Belgian composer Andrés Sas (who after leaving Europe settles in Peru), he would join the group 'Renovación' (together with Valcárcel, Pozzi-Escot, Pulgar Vidal and Sas); with them Bolaños began a series of presentations and edited a music magazine. He had already composed brief pieces for piano and music for a chamber orchestra. At that time Bolaños is interested in the work of Stravinsky, Bartók and Schoenberg. But he's still far from the sound radicalism that he would reach in the future. In 1957 he traveled to New York City to study composition at the Manhattan School of Music and electronics at RCA. He met the Argentine composer Alberto Ginastera, who offered him a scholarship to study at the Latin-American Center of High Musical Studies (CLAEM) in Buenos Aires, Argentina. On his arrival in 1963, Bolaños became involved in the design and development of the electronic music laboratory of the CLAEM. There he composed his first electronic piece and the first work generated in the above laboratory: 'Intensity and Height' (1964), inspired by a poem of César Vallejo. Bolaños also composed 'Interpolations' (1966) for electric guitar and magnetic tape, 'Spaces I' (1966), 'II' (1967), 'III' (1968) for magnetic tape, the experimental audio-visual cantata 'Alpha-Omega' (1967), instrumental and mixed pieces like 'Flexum' (1969), 'I-10-AIFG/Rbt-1' (1968), and, with a commission from Radio Bremen (Germany), 'Nacahuasu' (1970), inspired by the Che Guevara diaries. Bolaños also experimented with computers, and composed two pieces with the mathematician Mauricio Milchberg. 'Sialoecibi' (1970): ESEPCO I (computer sound-expressive structure)* for piano and a recitator-mime-actor (a work that satirizes the organization language initials from the 1950's) and 'Song without words', ESEPCO II (1970) 'Homage to the unpronounced words' for piano (2 performers) and tape. For the composition of these pieces Bolaños and Milchberg introduce into the computer parameters to have the machine generate a composition from the information obtained by the composer's production. These recordings bring together for the first time a definitive edition of his work on CD." [label info] www.pogus.com "Electronic music from Peru? Pogus boss Al Margolis goes with his search for some of the exotic, unknown composers from the most obscure parts of the world. Carlos Bolanos was born in Lima, Peru in 1931, who also composed for piano and chamber orchestra. In 1963, while in Buenos Aires he was introduced to electronic music, which he continued to compose until 1970. After 1973 he was back in Peru, but without any further means to continue this line of work and devoted the rest of his time investigating pre-Hispanic instruments. Now for the first time his electronics appear on compact disc. Only the first piece, 'Intensidad Y Altura' is pure electronical piece; all the others combine electronics with other, 'real' instruments. About one hundred minutes here of what is best called 'difficult' music - the germanic ernste music. I must have written this before, but I am not the most right person to do this music any justice. This is a highly serious mixture of avant-garde classical music in combination with electronic sounds. My favorite is 'Cancion Sin Palabras, ESEPCO II' for two piano's and tape, which is intense at times, soft at times and has a great touch to it, including some scarping and bending sounds. The other pieces were not bad either, but not all the time worked for these classically untrained ears. Definitely an interesting release, but perhaps I wished for some more electronics." [FdW, Vital Weekly]	2010	€18.00
BORISOV, ALEXEI	A Polished Surface of a Table	CD	Eine der experimentelleren neuen Veröffentlichungen auf dem Moskauer Label von A. ARTEMIEV kommt von ALEXEI BORISOW. Zu hören gibt es von ihm sehr komplexe Collagen und unendlich scheinende Überlagerungen aus „everyday sounds“ und atonal-dronigen elektronischen Klängen, Geräuschkaskaden, mutiert-technoides und vieles mehr.... “ A full-length album by Alexei Borisov is a nice thing to hear, if you need a redefinition of the experimental music. Alexei is certainly one of the Russian artists that's gaining a bigger worldwide recognition lately, he played live at this year's Club Transmediale in Berlin few weeks ago. Before this album and besides the tracks from various compilations (released by N&B Research Digest), I've heard Alexei's live album Before The Evroremont released by N&B Research Digest / Avanto Festival, and I liked it. I wonder what it means when a track by Alexei Borisov is titled Blue Vinyl? Does it mean he took a blue vinyl and conducted a musical massacre on it? Could be. Alexei likes to use voices in his post-electronic, post-techno, post-experimental, post-post music, one of the best post-musics I've heard. This is done truly amazing in the sixth track Dew, a complete musical slaughter, 4 minutes of the most amusing (and most gentle) sound-killing I've heard recently as a counter-point of the first 15 seconds at the beginning of the track with the appealing vocal of Angela Manukjan. Kill sound before sound kills you? Kid606, take notes. The techno moment is in Zaraza (Volume I), a track that could have been done maybe by Motor, and noone else. Could be because of the national connection. The softly distorted beats make me want to hear Volume II, if there is. The voices are sometimes used to create only noises with them, like in My Voices. Alexei Borisov's music is maybe not the kind of music you'll listen all day every day, but it's sure great to know it exists out there, somewhere, in the outer limit. Great work! Address: http://www.electroshock.ru [BR, Vital Weekly]	2004	€12.00
BOURBONESE QUALK	Hope	CD	Bourbonese Qualk were an experimental music group from England who where active from 1979 until 2003. The group were always obsessively and uncompromisingly focused on controlling their work – they ran their own record label, recording studio, tour organisation and music venue (the legendary ‘Ambulance Station’) – they refused to integrate into the commercial music racket turning down publishing deals from major labels – stubbornly opting for total independence. Bourbonese Qualk were also known for their political activism which was formed in the crucible of the 1980s Britain: The Miner’s Strike, Falklands/Malvinas war, Anti-fascism, Thatcherism, Moneterism, squatting/housing, local government corruption, anti-capitalism, and Anarchism – which was further re-enforced by touring Europe and meeting like-minded groups and organisations. They saw their music as a revolutionary cultural force – a belief that radical musical forms must be part of positive social change. Despite this position, the group avoided dogma, cliché and propaganda, preferring to let their audience come to their own conclusions – their work was often ambiguous and directly critical of cynical power-politics of any colour – often irritating members of the traditional ‘organised left’. In 1984 Bourbonese Qualk occupied a large empty building on the Old Kent Road in South London which they turned into a base for their activities and a co-operative for artists, musicians and writers as well as a centre for radical political activism – specifically as a co-ordinating centre for the ‘Stop The City’ anti-capitalist riots of 1984-1986. They never recorded in a ‘proper’ studio (not that they could ever afford to), choosing instead to work with their own extremely basic equipment (at a time when home studios were very unusual – the unique raw sound of these recordings is the result of their choice – which now, ironically, is in vodue due perhaps to the overwhelming obliquity of ‘clean’ audio digital production tools. If Bourbonese Qualk have a legacy, it is that ‘culture’ should be reclaimed, re-defined and owned by the people, wherever they are, however small and not by the state or the market and that ‘culture’ is a vital vehicle for debate and radical change.Hope was the group'ssecond long player, released on their own Recloose Organisation label in 1984. It features Simon Crab, Julian Gilbert and Steven Tanza. It's a masterpiece of early DIY Electronic/Industrial music and is available on CD for the first time now. Full tracklist: 1. Erector 2. Sunset Sex 3. Invocation 4. Cold Blood 5. Headstop 6. Mission England 7. Dereliction 8. Black Madonna 9. Gag 10. Something In The Air 11. There Is No Night 12. Exposure 13. Waves 14. Lost Time. Price: € 17,-/copy incl. worldwide shipping. www.klanggalerie.com/gg317	2020	€15.00
	My Government is my Soul	CD	Bourbonese Qualk were an experimental music group from England who where active from 1979 until 2003. The group were always obsessively and uncompromisingly focused on controlling their work – they ran their own record label, recording studio, tour organisation and music venue (the legendary ‘Ambulance Station’) – they refused to integrate into the commercial music racket turning down publishing deals from major labels – stubbornly opting for total independence. Bourbonese Qualk were also known for their political activism which was formed in the crucible of the 1980s Britain: The Miner’s Strike, Falklands/Malvinas war, Anti-fascism, Thatcherism, Moneterism, squatting/housing, local government corruption, anti-capitalism, and Anarchism – which was further re-enforced by touring Europe and meeting like-minded groups and organisations. They saw their music as a revolutionary cultural force – a belief that radical musical forms must be part of positive social change. Despite this position, the group avoided dogma, cliché and propaganda, preferring to let their audience come to their own conclusions – their work was often ambiguous and directly critical of cynical power-politics of any colour – often irritating members of the traditional ‘organised left’. In 1984 Bourbonese Qualk occupied a large empty building on the Old Kent Road in South London which they turned into a base for their activities and a co-operative for artists, musicians and writers as well as a centre for radical political activism – specifically as a co-ordinating centre for the ‘Stop The City’ anti-capitalist riots of 1984-1986. They never recorded in a ‘proper’ studio (not that they could ever afford to), choosing instead to work with their own extremely basic equipment (at a time when home studios were very unusual – the unique raw sound of these recordings is the result of their choice – which now, ironically, is in vodue due perhaps to the overwhelming obliquity of ‘clean’ audio digital production tools. If Bourbonese Qualk have a legacy, it is that ‘culture’ should be reclaimed, re-defined and owned by the people, wherever they are, however small and not by the state or the market and that ‘culture’ is a vital vehicle for debate and radical change. My Government Is My Soul was the band's sixth album, originally released by Fünfundvierzig in Germany in 1989. Drums, Percussion – Owen Rossiter Guitar, Saxophone – Miles Miles Voice, Electronics – Simon Crab Written By, Recorded By, Producer – Bourbonese Qualk Remastered By – Martin Bowes https://klanggalerie.bandcamp.com/album/my-government-is-my-soul	2026	€15.00
BOW GAMELAN ENSEMBLE	Great Noises that fill the Air	CD	Since 1983, Bow Gamelan Ensemble have inspired generations of artists with their radical practices and explosive performances. Charged with their individual virtuosity in performance art, avant-garde music and kinetic sculpture, their sound installations and performances are immersed in an orchestra of instruments made from scrap metal, electric motors, river barges and domestic objects including glass sheets, light bulbs and fireworks. A dissonance between 'noise' and 'meaningful utterance’ that will astonish the ears and ravish the imagination with unearthly magic. Guests: Z'EV, Nicola Kate Heys, Thames Steam Launch Co., Eel Pie Marine. 30th anniversary reissue of the sought-after LP from 1988, on CD for the first time. Mastered by Denis Blackham (Skye Mastering). Digipak. 'Great Noises That Fill The Air', the first retrospective of Bow Gamelan Ensemble, runs 27th October - 15th December 2018 at Cooper Gallery Dundee, with two special performances on 26th October and 24th November: www.dundee.ac.uk/cooper-gallery/exhibitions/bowgamelanensemblegreatnoisesthatfilltheair/ ................................................................................... Embodying an urgently creative and discursive space resonating with improvisation, camaraderie, provocation and antagonism, the East London performers are driven by the uniquely subversive and collective sensibilities of Anne Bean, the late Paul Burwell and renowned sculptor Richard Wilson. The ‘instruments’ used in their performances are specially constructed, mostly from scrap metal, electric motors and glass, and produce a wide variety of sounds; from the deep, organ like sounds of the Pyrophones and the tumultuous din of The Thundersheet, through a gamut of percussive timbres and dynamic ranges. Weirdest band in the world: weirdestbandintheworld.com/2018/10/15/weird-band-of-the-week-bow-gamelan-ensemble/	2018	€12.00
BRAND, STEVE	Looking into the other	CD-R	STEVE BRAND (also known before as AUGUR) mixes electronics, field recordings and sounds from "real" instruments for a very mellow deep ambient journey, similar to ALIO DIE or ROBERT RICH... but he also has parts of very "pure" concrete sounds, that are more challenging... Great full-colour artwork / cover, showing nature, symbols, stones. "Steve Brand has been creating sound art and visual art since the mid-80's. From 1995 to 2003 he was active as Augur, creating obscure and organic music which was released on many labels worldwide, including The Foundry, Manifold, Alluvial, Self-Abuse and others. During the years he had the chance to collaborate with artists such as Jeph Jerman (Hands To, Animist Orchestra), Rick Kitch (I Am Umbrella, Lucky Cricket), PBK, James P. Keeler (Wilt), Brooke Oates (Birds of Tin), etc. His atmospheres, alarmingly austere, with varying shades of gray, are drenched in allusion and a heightened sense of cinematic noir for the listener. According to his own words, "emotional aspects of a recording always come first". Consisting of six long tracks, "Looking Into the Other" takes up where "Awakensong" (...released on Afe in April 2006...) left off, expanding the exploration of twilight worlds. The album utilizes bells, synthesizers, voice, various flutes, medicine drums, cymbals, fiddle, rattles, prayer bowls, etc. "Looking Into the Other" begins with the ritual horns introduction of "The Flower of Life", a piece full of pathos which is subsequently filled with morbid sythesizers lines and insects sounds provided by Johnathan Benham. "Where Two Rivers Meet" starts as a percussive number and then proceeds with keyboards and flute intertwining each other before percussions re-emerge towards the end of the track. Clocking at more than thirteen minutes, "Djehuti, the Architect" is one of the longest and most complex tracks on the album. Its structure keeps on changing as different percussions, cymbal, voices and synthesizers flow in and out of the mix. Listening to this track is quite an experience. "Columns of Light" it's a quieter and dreamy piece constructed on floating keyboards sequences and background rattles, bells, chimes and other small objects / hand-held percussions. "Looking Into the Other", the title-track, was already featured on our 10th year celebrative on-line compilation in late 2005, the one on this album is an improved version. With its flutes, voices, phased drones and repetitive drumming, this track has a strong introspective quality. The fourteen minutes long "Wrapped in Leaves" closes the album with a mocking laugh. A shorter version of this track previously appeared on the "Things Asunder" compilation released by The Foundry. Once again, with this work Steve Brand has created an high quality and excellent album of deeply emotional music, and proved himself as one of the most inspired authors in contemporary Ritual Ambient. "I am reaching into the interior realities, the meaning behind the symbols we accept as everyday reality, into the dream of the abundant natural self that knows no boundaries or limitations." [label description] www.aferecords.com	2007	€10.00
BRANT, JACOB	Rainmaking	mCD-R	"ACM 1019: 3“ CD-R in mini DVD-style case Drone ambient at its lushest, most densely harmonic, is how best to describe the music of British artist Jacob Brant. Using sampled acoustic instruments and especially voices to create sonics vaguely akin to Ligeti’s ‘Lux aeterna’, this two-part composition shows his capability of colouring his dronescapes both in serene and ominous colours. “This piece of music is dedicated to those who protect us,” the sleeve notes say, and while the first part of the piece, ‘Rainmaker,’ seems to refer this to a sort of religious context, the title of the second part, ‘Whistleblower,’ proves that for all the blissful otherworldliness of his music, Brant is not blind to the ugliness of our world that needs whistleblowers in evil organisations to protect the rest of us from the worst. Jacob Brant certainly shares a lot of compositional methodology (use of acoustic sound sources etc.) with drone composers like Niblock and If, Bwana, but the structure of pieces like “Rainmaking” is more akin to artists like Mirko Uhlig and Tim Hecker and their more song-like, melody-oriented approaches." [label info] www.attenuationcircuit.de	2013	€6.00
BRUME	Reality is not enough	CD-R	BRUME / C. Renou: Electronics, Metal, Tape, guitar, electronic toys, field recording, voice, effect, etc... Comp / Rec / Mix at BRUME Rec studio, Oct. 2022 https://instituteforalienresearchvariousartists.bandcamp.com/album/reality-is-not-enough	2023	€10.00
BRUME / OUBLIER ET MOURIR	A Year to live	LP	" ‘A Year To Live’ is the 2nd collaboration between the German dark ambient/noise sound artist ANEMONE TUBE (OUBLIER ET MOURIR) and the French sound experimentalist CHRISTIAN RENOU (BRUME). ‘A Year To Live’ ties in with the highly acclaimed ‘Transference’ collaboration CD (released by Auf Abwegen, 2003), which radiated a subtle (dis)quieting melancholy, but goes beyond it. ‘A Year To Live’ refers to the same-titled book by Stephen Levine, which deals about preparing for or ‘practicing’ death to remind oneself of the beauty of life. On his deathbed, Socrates exhorted his followers to practice dying as the highest form of wisdom. Levine teaches us to live each moment mindfully and created the so-called ‘year to live’, a program of intensely practical strategies and powerful guided meditations, which helps us to live our lives with more awareness before we die. Both artists approach this theme with notably different points of view, but complement one another’s vision, in such a precise and dedicated manner, that one can truly not exist without the other. BRUME is the experimental music project by CHRISTIAN RENOU, a particularly prolific sound artist, active since 1985. With recordings on Elsie And Jack, Drone, Old Europa Café, Relapse, Staalplaat and his own Brume Rec., Christian Renou has built quite a name for himself over the years and can be considered a legend in the field. On ‘A Year To Live’ BRUME creates environments ranging from the completely abstract to the vaguely specific, using elements such as voice, loops, wide-ranging drones, ghostly ambiences, noise, various electronics and even percussions. The loops and voice samples roam throughout the track list like persistent ghosts wandering in a transcendental, shapeless purgatory, reciting their obsessions like a mantra. www.elsieandjack.com/brume ANEMONE TUBE has aroused much attention with his two consecutive releases ‘Dream Landscape’ (2010) and ‘Death over China’ (2011), which embody hell’s darkest nightmares to give a good, hard glimpse of Death’s reign over matter and human existence. Now a new form of expression is born and in a sense it is the cathartic aftermath of the unbearable pain caused by the previous realisations. Such an expression required a different vehicle, which is OUBLIER ET MOURIR (‘to forget and to die’). A name perfectly suited to the peaceful, meditative, but also deeply emotional and atmospheric character of the music, which is a unique mix of melancholic ambient soundscapes & melodramatic pop sometimes reminding of TOR LUNDVALL and (early) SYLVAIN CHAUVEAU. www.anemonetube.de " [label info] www.silkentofu.bigcartel.com	2012	€17.50
BURKE, DAN & KEVIN DRUMM	Mort aux Vaches	CD	"In 2001 Dan Burke (aka Illusion Of Safety's frontman) and Kevin Drumm embarked on a small European Tour, bringing them also to the VPRO studios. This was the third time that Dan Burke made recordings there, the first two being previously released in the Mort Aux Vaches (and both are still available). Rather then playing under the Illusion Of Safety moniker, this was a tour of two like minded improv artists. Dan Burke has been doing Illusion Of Safety since the mid 80s, releasing many CD's and the band has seen many members besides Burke, including Jim O'Rourke, Mark Klein and Kurt Greisch. They balance on the fringe of silence and noise, always seeking out the beauty. A discography by Kevin Drumm reads like a who's who in the world of improvised music. He has released CD's with Ralf Wehowsky, Taku Sugimoto (various releases, such as for Boxmedia, Sonoris and Meme), Martin Tetreault, Axel Dorner and Lasse Marhaug (plus lots that we forget of course) as well as various solo works for Perdition Plastics, Mego and Fringes. This CD is a fine improvisation between the closely contact microphone objects, guitar and laptop of Dan Burke and Drumm's guitar and ancient analogue synthesizer. A very dynamic work, which ranges from sheer silence to sheer noise, always with a sharp edge." [label info]	2003	€14.50
BURROUGHS, WILLIAM S. & BRION GYSIN	same	LP	Rare recordings of beat/cut-up writers and artists William S. Burroughs and Brion Gysin. Comprises the complete recording of Burroughs reading live in Liverpool in 1982, plus performances by Gysin of a selection of his permutated poems, as well as home recordings made by the pair in Paris in 1970. All recordings are taken from original tapes in the British Library collection. Ltd Edition 180g vinyl. Officially licensed from the British Library, The Estate of William S Burroughs, and The Estate of Brion Gysin. credits released May 10, 2021 SIDE A: 1. The Beginning is also the End (excerpt) Speaker: William S. Burroughs Recording date: Unknown, probably c.1963 2-6. Reading at the Centre Hotel, Liverpool Speaker: William S. Burroughs Date of recording: 5.10.1982 SIDE B: 7-10. Reading at the Centre Hotel,Liverpool cont. 11. Cut-Ups Self-Explained Speaker: Brion Gysin Date of recording: c.1960-1962 12. I Am this Painter Brion Gysin Speaker: Brion Gysin Date of recording: c.1960-1962 13-18: Pistol Poem I’ve Come to Free the Words No Poets Don’t Own Words Calling All Reactive Agents Junk is No Good Baby Kick That Habit Man Speaker: Brion Gysin Date of recording(s): 1960-1962 19. I Am That I Am Speaker: Brion Gysin Date of recording: 1962 20-22. Invisible Art (three versions) Speaker: William S. Burroughs Date of recording: 22.03.1970 23. 'Silky supple mirrors to be folded...’ Speaker: Brion Gysin Date of recording: 22.03.1970 https://coldspring.bandcamp.com/album/william-s-burroughs-brion-gysin-csr293lp	2021	€28.00
BUT I'M NOT (PAWEL GRABOWSKI)	DAEMON TRANCES I-VI	CD	This album is about trauma and PTSD. The music portrays the emotional loop... the continuous reminiscing about the traumatic event the never-ending anxiety and paralyzing panic attacks... ... from which a traumatized person simply cannot escape. I call this state the daemon trance (and, unfortunately, I know it far too well...) Recorded between January and May 2021 at SINE studio, Ireland. but I'm not is Pawel Grabowski (processed live instruments, field recordings, objects.) Mastering - Colin Potter at IC Studio, August 2021 Cover photo: Artur Mieczkowski (www.instagram.com/anxious_93/) https://silenceisnotempty.bandcamp.com/album/daemon-trances-i-vi "It's been a long time since I heard music by Pawel Grabowski (check Vital Weekly 414, 424, 492 and 508, but following that flurry of releases, it all went quiet for him. That was "mostly due to family, and life in general". Now he has a new moniker and a new label. The new name is But I'm Not (lower case, except for 'I'), and on 'Daemon Traces I-IV' he wanted to compose that captures that unique state is known only to people suffering from the aftermath of a traumatic event". According to the cover, it is something that he is "unfortunately all too familiar with". "Each of the six compositions portrays different aspects of what a traumatized person goes through, often every day - the continuous reminiscing about the traumatic event". This is one of those things of which I think "had I not known this, would I have heard it?". I guess not, but my personal view towards music is a very 'absolute' one. Music is never about anything. Anything attached to music to make it about something is not music; they are words used, descriptions, images (a record cover), that kind of thing. Grabowski explains the nature of the trauma for none of these six pieces, which leaves something to imagine, I guess, but also a hole in our knowledge (why not go all the way). Grabowski uses "processed live instruments, field recordings and objects". It is a pity that these live instruments are not specified. I hear a piano on quite a bit on the pieces, solemnly slow bangs on the keys, Gregorian voices in the first one (which I think that Grabowski went all gothic, but, good news, he didn't), a fair bit of synthesizers and sound effects and the samples of marbles in a bowl (also in the opener). Some of the other sounds are harder to define. Throughout the music solemn, slow and very moody. A bipolar disorder, with some extreme darkness and extreme happiness, is not to be found here. Grabowski reminded me what I thought of his older releases in a private letter, but they are so far away in the past that I don't remember them. Therefore it is not easy for me to say to what extent this new one is different from his previous releases. I think this is a solid album, a severe one, and while the subject is not very well spend on me, I can see that he's serious in creating music that paints a picture of those suffering from trauma and PTSD. [FdW / Vital Weekly] FULL PRESS RELEASE: About daemon trances “Daemon trances I-VI tells a story about experiences of living with trauma and PTSD. My objective when composing this music was to capture that unique state known only to people suffering from the aftermath of a traumatic event. And so, each of the six compositions portrays different aspects of what a traumatized person goes through, often every day – the continuous reminiscing about the traumatic event, the never-ending anxiety, paralyzing panic attacks... For my use, I refer to this state as the “daemon trance,” and the music on this album perfectly represents what I often struggle with in life.” About Pawel Grabowski Pawel Grabowski (b. 1977) – composer specializing in writing deeply personal electroacoustic and drone music. Grabowski uses prepared instruments, field recordings, and objects to create meditative and hypnotic compositions to convey emotions and create unique atmospheres. He refers to his music as Imaginism. Background: ● Although he doesn’t have a formal music education, between 1998 – 2001, Grabowski studied double bass with a famous Polish jazz bassist, Janusz Mackiewicz. ● He also took private tuition in classical composition between 2000 - 2002, first with prof. Krzysztof Olczak, then with prof. Eugeniusz Glowski ● He also participated in international composition workshops at the Academy of Music in Gdansk, Poland, in 2002. ● In 2002, he was selected as one of the artists representing his home city, Gdansk, at the Art Biennale - “ArtGenda” in Hamburg. He wrote music commissioned for various projects of the biennale. ● In the same year, he composed a piece commissioned by the Baltic Cultural Centre in Gdansk, showcased during a presentation of composition students of the Academy of Music. Career: ● Grabowski founded a chamber trio, Miasto Nie Spalo, in 1998 and recorded two albums with the band: Festspielhaus (1998) and Piesni Zalobne I-VII/Threnodies I-VII (2000 - released on the famous polish label, Obuh recs.) ● Between 2001 – 2006, Grabowski recorded solo, publishing his music on such labels as Drone records, Laub records, Cronica, Mystery Sea, Dark Winter, and more. ● Since 2020, Grabowski performs as but I’m not and runs a small, independent record label, Silence Is Not Empty.	2021	€12.00
BÜTTNER, GREGORY	Pochen - - Oder : Mit Nachschleifendem Zwirnsfaden Die Treppe Hinunterkollern	CD	https://gregorybuettner.bandcamp.com/album/pochen-oder-mit-nachschleifendem-zwirnsfaden-die-treppe-hinunterkollern-2 I recorded the sounds for this piece in March 2011 at the "Performance Arts Forum" in France. The PAF is housed in a former convent school, which was built at the end of the 19th Century in the village of St. Erme in Picardy. After the convent school and a hospital during World War I, various temporary uses and a long term of vacancy, the PAF was founded in 2006 as a workplace for artists. During my three-week stay, I kept sneaking through the 6.400 m2 building: From the attic to the basement, from the small private chapel through the various rooms and artists' studios. I examined the old monastery acoustically, recorded sounds and improvised together "with the house". The role of the house kept moving between sound generator, resonant space and instrument. I recorded breathing wood planks or flickering light switches, explored the different resonant cavities, made metal cabinets resonate or prepared out-of-tune pianos. From the recorded material I worked out a composition, which, organized in chapters, permeates the house acoustically and connects found sounds, digital processing and experimental performance techniques into a "throbbing". All music by Gregory Büttner (2011-2012). Another version of the piece was commissioned by WDR3 Studio Akustische Kunst. Premiered July 2013. Mastered by Giuseppe Ielasi. Photos and cover design by Gregory Büttner, photo inside middle by Anja Winterhalter.	2014	€13.00
BUTZMANN / KAPIELSKI	WAR PUR WAR	LP	"Komponist, Hörspielautor und Performancekünstler Frieder Butzmann begann bereits Ende der 1960er Jahre im Bereich experimenteller Musik zu forschen. Butzmann wird zu den Pionieren des deutschen Industrial und als Teil der Genialen Dilettanten Bewegung gezählt. Neben zahlreichen Soloveröffentlichungen kollaborierte Butzmann auch immer wieder mit anderen Künstlern wie Genesis P-Orridge, Blixa Bargeld oder Santrra Oxyd. Mit Autor und Künstler Thomas Kapielski arbeitete Frieder Butzmann seit den frühen 1980er Jahren zusammen. Die gemeinsamen Kompositionen sind zumeist minimalistische Stücke, durchsetzt von Alltagsgeräuschen und Sprachversatzstücken. So zu hören auf ihrem Album "WAR PUR WAR", das 1987 auf Zensor erstveröffentlicht wurde und mit seiner einwilligen Mischung aus verschrobenem Electro-Pop und skurrilen Klangcollagen ein gänzlich einzigartiges Werk ist und über die Jahre zu einer gesuchten Rarität wurde. Ergänzt um zwei Bonustracks, liebevoll remastert, mit aufgearbeitetem Artwork und versehen mit unveröffentlichten Fotos und Linernotes von Frieder Butzmann, erscheint "WAR PUR WAR" nun als Neuauflage auf LP und CD bei Bureau B. Composer, radio dramatist and performance artist Frieder Butzmann began exploring experimental music in the late 1960s. One of the pioneers of German industrial music and a member of the Geniale Dilettanten movement, Butzmann has collaborated with artists such as Genesis P-Orridge, Blixa Bargeld, and Santrra Oxyd, as well as releasing numerous solo works. Frieder Butzmann joined forces with author and artist Thomas Kapielski in the early 1980s. Most of their compositions are minimalist tracks interspersed with everyday noises and fragments of speech, as can be heard on their WAR PUR WAR album, first released on Zensor in 1987. This utterly unique work is an idiosyncratic mix of eccentric electro-pop and bizarre sonic collages and has gone on to become a sought-after collector’s item. Now lovingly remastered, with refreshed artwork and two bonus tracks, WAR PUR WAR is being reissued on LP and CD on Bureau B, complete with previously unpublished photos and liner notes by Frieder Butzmann." https://butzmannkapielski.bandcamp.com/album/war-pur-war	2020	€20.50
CAGE, JOHN	Variations VII	DVD	Historische Aufnahmen von 1966 (41minütiger Film, 85 Minuten Audio)! "In 1966, 10 New York artists and 30 engineers and scientists from Bell Telephone Laboratories collaborated on a series of innovative dance, music and theatre performances, 9 Evenings: Theatre & Engineering, held in October at the 69th Regiment Armory in New York City. The artists were John Cage, Lucinda Childs, Öyvind Fahlström, Alex Hay, Deborah Hay, Steve Paxton, Yvonne Rainer, Robert Rauschenberg, David Tudor and Robert Whitman. Archival material has been assembled into 10 films, each of which reconstructs the artists' original work and uses interviews with the artists, engineers and performers to illuminate the artistic, technical and historical aspects of the work. Variations VII, performed at 9 Evenings, was the next to last in John Cage's series of indeterminate works that he had begun in 1958, which made increasing use of electronic equipment and systems. This DVD documents the only complete performance of Variations VII and also presents a stereo audio recording of the full 85 minutes of the performance. This rare and historical film is the second in the 9 Evenings series from E.A.T. (Experiments in Art and Technology) and ART PIX and was produced by Billy Klüver and Julie Martin of E.A.T. and directed by Barbro Schultz Lundestam." All-region DVD, two-sided for both NTSC & PAL formats. 41 minutes + 85 minute audio track. [label info]	2008	€20.00
	Complete Song Books	do-LP	“ … to consider the Song Books as a work of art is nearly impossible. Who would dare? It resembles a brothel, doesn’t it?” John Cage. Volume 3 in the Perihel series on Karlrecords is dedicated to one of the most iconic composers of 20th century: John Cage. All 92 pieces of the “Song Books” in stunning interpretations by Reinhold Friedl, recorded at Rashad Becker’s Clunk Studio who also contributed live electronics. John Cage (1912-1992) is one of the most important composers in modern music: with more than 250 compositions, many of which are considered key works of New Music, and theoretical essays on composition he significantly changed the way we think about and perceive music today. But Cage not only left a major impact in the academic world, he is also cited as an important inspiration by a wide range of diverse musicians from a younger generation, be it electronic producers, experimentalists or noise artists. His “Song Books”, published 1970 in three volumes, is a collection of open works that contains not only songs but a strange hybrid collection of compositions, graphic scores, meditation rules, experimental settings, absurd musical instructions, performance settings, musical references, and Fluxus-inspired actions such as eating fruits or drinking cognac (Cage loved whiskey and cognac)… - When Reinhold Friedl (director of the ensemble Zeitkratzer) entered the Clunk Studio to record the whole cycle with Rashad Becker (who handled the feedback cabinet and live electronics), the idea was quite simple: to approach each single piece in an informal way but to do all 92 pieces in the right order. What came out in the end is a kaleidoscopic lecture and interpretation of the compositions with the help of a strange mixture of ancient and modern tools: new electronics, old and special microphones, self-built instruments, arbitrary garbage sounds, sophisticated live-electronics devices, quotes… “Complete Song Books” turns out to be an early hymn for sonic freedom, a sonic promenade full of beautiful references. All music composed by John Cage. Constructed by Reinhold Friedl. Performed by Reinhold Friedl: voice, toys, wooden games, metal objects, complex objects, microphones, garbage… Rashad Becker: feedback cabinet, live electronics. Mastered & cut at D&M, Berlin. Artwork by Lillevan."	2016	€26.50
CALARCO, JUAN JOSE & DAVID VELEZ	Bahias	CD	"On December of 2009 Juan José Calarco and David Velez captured sound from bays near the cities of Buenos Aires and NYC respectively. They exchanged files for over two years until mid 2011 when the piece was finalized. The artists wanted to explore the opposite weather conditions as an element of difference and the site where they will record (bays) as an element of concurrence to support their site recording work. On the compositional process the artists make gestural and intuitive use of those recordings based on mere formal and aesthetic considerations: Concrete sounds used as material to build new experiences on the listener's conscience where the perception of space and time is altered and distorted under artistic acoustic means. Active since the early 2000, Juan Jose Calarco is a musician and sound artist who works with materials from urban and natural environments. Ranging from the documentation of harbours to water canals to detailed sound topographies of several cities at night, his interest focuses in the narrative and emotional content of the sound matter. His works have been published in several labels as And/Oar, Unfathomless, Con-v, Siridisc, Mystery Sea, Mandorla, Test Tube, Frígida, Sijis or Koyuki and has collaborated with James McDougall, Manrico Montero, David Wells, H Stewart, Ubeboet, Pablo Reche and Nicholas Szczepanik. David Velez is a sound artists currently living in his hometown Bogotá where he is taking a Masters on Fine and Visual Arts. His work deals with the perceptual aspects of time and space and addresses them through textural work as the main formal consideration. His method consists of making use of Field recordings as sound matter that he will instrument through gestural composition and improvisation. David Velez is interested in the relation between the reduced and the casual hearing and the possibilities when involving them into the perceptual acoustic experience. He founded and works for the label Impulsive Habitat and the blog The Field Reporter and he is constantly publishing his works on digital and physical media and performing at concerts at Universities and small venues." [label info] www.semperflorens.net	2011	€13.00
CAMBERWELL NOW	The EP Collection	LP	Camberwell, in South London, pops up infrequently in pop culture. Perhaps you know it from the Camberwell Carrot, the heroically sized joint smoked in cult movie Withnail & I, or perhaps – if you’re attuned to experimental music – you know of Camberwell Now. The group formed from the ashes of This Heat, the art-noise group whose catalog was reissued on Modern Classics Recordings in early 2016. Not so much a supersession as a continuation of that group, Camberwell Now featured This Heat’s vocalist / drummer Charles Hayward, who assembled an unusual line-up comprising Stephen Rickard, a former BBC sound engineer, on field recordings and tape manipulation and Trefor Goronwy on bass, vocals and ukulele. “We had a very specific set of skills,” says Hayward, in new liner notes compiled for this long overdue reissue, “and it wasn’t immediately clear to us how best to bring them together so that we could play live.” Taking inspiration from seafaring and imperialism, and the fact that the music was created within close proximity to the meridian line in Greenwich, the Meridian EP was originally intended to be a project for This Heat. The group’s departing member Charles Bullen plays on the opening track, “Cutty Sark”, named for the famed British clipper ship. The second EP, 1987’s Greenfingers, was their final recorded work and, according to Hayward, “it’s possible to hear the group atomising and preparing to go its separate ways” within its grooves. The only This Heat or Camberwell Now recording not to have been produced at Brixton’s Cold Storage studios, it was recorded as a DIY exercise and – unusually for either of the groups – was not pored over laboriously for a great deal of time. The EP also saw the addition of a new member, Maria Lamburn, primarily on sax, whose “Element Unknown” was inspired by her experiences in the nuclear protest camp at Greenham Common. Comprising tracks that overlapped between This Heat and Camberwell Now, the EPs concerned themselves with information technology, surveillance, propaganda and what Hayward describes as “day-to-day, hand-to-mouth survival” – all pertinent concerns in a fractured Britain under the rule of right-wing ‘Iron Lady’ Margaret Thatcher, and perhaps still as pertinent today in fractured, recession-hit, isolationist Britain. The group dispersed after a final European tour, amicably, quietly, and differently, the latter their MO throughout a unique career. Goronwy, Hayward and Rickard all share their experiences and thoughts on The Camberwell Now in liner notes accompanying this landmark release: young and old, birth and death captured on two sides of vinyl. Note: On download card (and audio samples above), track one includes the songs “Cutty Sark”, “Trade Winds” and “Pearl Divers”. Total running time for track one is 9:34 and each song is distinct, though they are to be experienced as one long-form piece of music. Release Notes Official vinyl re-issue in collaboration with original members 24 bit/96 kHz re-master from original analog tapes Restored art, expanded to a gatefold tip-on jacket Includes download card with two bonus tracks 8 page booklet with track notes by the artists, lyrics and archival photos Auf Camberwell in South London wird sich in der Popkultur immer wieder bezogen. Vielleicht kennt man es von der Camberwell Carrot, dem überdimensionalen Joint, der im Kultfilm „Withnail & I“ geraucht wird, oder von CAMBERWELL NOW. Die Band entstand aus der Asche von THIS HEAT und bildete sich um Sänger und Schlagzeuger Charles Hayward, der den ehemaligen BBC Sound Engineer Stephen Rickard für Field Recording und Bandmanipulationen und Trefor Goronwy an Bass, Vocals und Ukulele akquirierte. „Wir hatten eine sehr spezielle Herangehensweise“, sagt Hayward, „und zu Beginn wussten wir nicht, wie wir unseren Sound live umsetzen sollten.“ Die „Meridian EP“ vereinigte Einflüsse aus der Seefahrt und dem Imperialismus und spielte auf den Fakt an, dass die Musik nahe am Meridian in Greenwich entstanden war. Die zweite EP, „Greenfingers“ von 1987 war ihre allerletzte Aufnahme, auf der man laut Hayward hört, wie die Gruppe „sich langsam zerstreut und getrennte Wege geht“. Auf der EP war erstmals das neue Mitglied Maria Lamburn am Saxophon zu hören, deren „Element Unknown“ von ihren Erfahrungen in einem Protestcamp gegen Atomenergie inspiriert ist. Die EPs vereinen Tracks aus Zeiten von THIS HEAT und CABERWELL NOW und befassen sich mit Informationstechnologie, Überwachung, Propaganda und dem tagtäglichen Überlebenskampf, ernsthafte Sorgen im gespaltenen Großbritannien unter der eisernen Margaret Thatcher und vielleicht heute noch genauso relevant im zerrissenen, rezessionsgeplagten, isolationistischen Großbritannien der Gegenwart.	2016	€28.00
CAPPAROS, OLIVIER & LIONEL MARCHETTI	Equus	CD	"Please Note: This is a 33 minute CD. Equus is a collaborative work of musique concrète recorded in 2001-02 on a commission from the INA GRM It is truly a delight for Pogus to add this title to our catalog. As Capparos notes: "Equus guides us through human memory and history. It may sound a bit strange that sound & music would appear as a "vehicle", or as we had cast a lead into a labyrinth. This brings us to the question of whether we are alive or not; travelling the path throughout these soundings would drive us down and up our consciousness and our listening, not to mention that we are dead or alive." Olivier Capparos is an instrumental and electro-acoustic composer whose work encompasses philosophy and literature as well as music. Many of his compositions are focused on voice and its interpretation through loudspeakers. Capparos was composer in residence at the INA-GRM in Paris (2001), the Studio National des Arts Contemporains du Fresnoy (20023), and at the Argos Center in Bruxelles (2004). He has composed and conducted works for chamber orchestra, voice (soprano), violin, and piano, and has co-produced many other recordings and radio broadcasts with Lionel Marchetti throughout their long association. Lionel Marchetti was born in France in 1967. His interest in music resides in the qualities of sound. He started to experiment by himself and later discovered the rich French corpus of musique concrète through Xavier Garcia. He is one of a handful of artists who in the mid- to-late 1990s took electro-acoustic music out of academic studios and into the free improvisation ring. A scholar who worked at the CFMI (Lyon) and INA-GRM studios and published a book on acousmatic composer Michel Chion, Marchetti developed a set-up of microphones and loudspeakers he uses on stage along with tape recorders, prepared CDs, motors and radios. He often refers to his instruments as an Œelectro-acoustic contraption¹. His musique concrète studio work incorporates sound collage and academic electro-acoustic composition, though the level of poetry and refusal of genre boundaries in his music puts him closer to Kristoff K. Roll and Luc Ferrari than Pierre Henry or Bernard Parmegiani. Following his encounter with Metamkine label owner and fellow sound experimentalist Jérôme Noetinger in the early 1990s, a series of live and improvisation-based projects would run parallel to his more academic career. The Marchetti-Noetinger duo was the first of such projects and remains the longest lasting one. They are also involved in the audio- visual project Le Cube. In addition, Marchetti performs with the influential improv collective Archipel (with Emmanuel Petit, Sophie Agnel, Fabrice Charles, Pascal Bathus, and Werchowski)." [label description] www.pogus.com "So mögen wir es: kurz und knackig und mit vielen Generalpausen. Lionel Marchetti und Olivier Capparos sind zwei Akteure, die mit elektroakustischen Klängen die Domäne der spinnert-verklausulierenden Raumklangforscher verlassen und ihr Werkeln und Forschen an allgemein ästhetische und fast schon philosophische Fragen koppeln. Equus, eine Reise durch flockiges Geknister, prutzelnde Plirrgeräusche, fauchend-hüstelndes Tongebäck und vieles mehr, dauert nur eine halbe Stunde. In dieser Zeitspanne nehmen sich die beiden Komponisten – benutzen wir das Wort doch ruhig hier! – nichts weniger vor, als in Klang der Frage nachzugehen, was es ausmacht, am Leben zu sein! Wow! Bitte Alexander Kluge nach ‘ner gescheiten Rezi fragen und mich das Ding weiter auf Köpfhörer liegen lassen. Supertolle Sounddusche!" [Zipo / Auf Abwegen]	2009	€12.50
CAUX, JACQUELINE	Anna Halprin	2 x DVD	These two engaging films—Out of Boundaries and Who Says I Have to Dance in a Theater—provide insights into Anna Halprin’s creative philosophy, teaching methods, and performances, serving as an informative follow-up to Ruedi Gerber’s Breath Made Visible. In lively conversations Anna articulates her ideas, describing the trajectory of her work, distinguishing her method from traditional choreography, clarifying her pioneering concept of task-oriented movement, and much more. In addition, there is footage from important past performances and revealing excerpts from the rehearsals for the 2004 performances at the Festival d’Automne in Paris. Trailer 1: http://www.jacquelinecaux.com/jacqueline/en/documentaire-out-of-boundaries.php Trailer 2: http://www.jacquelinecaux.com/jacqueline/en/documentaire-anna-halprin.php These two films captures, from videotaped conversations and numerous excerpts of rehearsals, performances and rare archival footage, of fundamental changes made by Anna Halprin in the field of dance. As soundtrack its have musics by Pauline Oliveros and Terry Riley who both have, at various times, worked with her.It was born in California, in the mid-fifties, long before swarm in New York, this form of artistic expression so peculiar that we later gave the name of 'Post Modern Dance'. All those who participated in the outbreak of this phenomenon know Anna Halprin is an important pioneer. Born in 1920, she has literally exploded all agreements remained in contemporary dance by supporting research on the everyday actions, and taking into account the anatomy of men as well as his unconscious desires and his sexual impulses. She introduces in 1957 the concept of 'task' (to perform actions such as dressing, undressing, walking...). Floor of sneakers or shoes with high heels, she improvises in parking lots, construction sites, in the streetOn the set dancing outdoors that her architect husband Lawrence Halprin has built below their house near San Francisco, she drives in her crazy adventures - to the extreme by galvanizing their own creativity - young artists from different fields still completely unknown. Dancers such as Simone Forti, Yvonne Rainer, Trisha Brown, Meredith Monk, as well as Robert Morris (before he choose the sculpture), which then introduce in New York on radical innovations of Anna Halprin, forming the core of 'Judson Dance Theater', composers like La Monte Young and Terry Riley, she called in 1959 co-musical directors, and experimenting with her music minimalist and repetitive they are inventing. Other artists such as Charles Ross, a poet like James Broughton, filmmaker Stan Brakhage...An important step while leading it to take into account more than ever the real in work, will Anna Halprin media spotlight away from the city of New York with all the artistic means at its disposal, it will be his fight against the cancer she suffered in 1972 with a recurrence in 1975. Cured, that's when she began working with cancer patients, and later of AIDS. 'I'm not a therapist', she is to clarify, 'I am an artist who seeks to develop imaginative and personal social issues. For me, art is this: bring in a creative process things imposed on us'. Environment California has strengthened the inspiration of Anna Halprin and has enabled her to celebrate away from demonstrative virtuosity, beauty of the natural movement of the human body. This, combined with its long association with disease and death, leading to her most recent improvisations in nature such as 'Returning Home' and 'Season' or 'Rocking Seniors' with more than fifty old persons'. Jacqueline Caux www.jacquelinecaux.com	2014	€35.00
CHALK, ANDREW	Paradise Lost	LP	"Newly reissued on vinyl (and digitally) with beautiful new artwork, Paradise Lost was originally released as a cassette back in 2019. As is the norm for many Andrew Chalk releases, additional details beyond the fact that it exists are quite thin, but this one takes that to an amusing extreme, as the Discogs entry for the original cassette notes "label and artist name are not listed on the release." That said, I believe I can say with moderate certainty that these two longform pieces were recorded on an 8-track reel-to-reel between 2016 and 2018 and that Chalk primarily played a synthesizer. Also, his Ghosts on Water bandmate Naoko Suzuki contributed some very well-hidden vocals and created the artwork for the original tape. To some degree, it makes sense that this album originally surfaced as a very limited-small run tape, as it does not feel like one of Chalk's more significant opuses, but it is quite an enjoyable and interesting release nonetheless. In fact, the title piece feels like legitimately prime Andrew Chalk material to me, though I suspect many longtime fans will be more fascinated by the surprising and divergent "This Pendent World." Faraway Press One interesting bit of information that I stumbled upon while researching this album was a blurb from Daisuke Suzuki's Siren Records noting that this album "strongly recalls the atmosphere of home recording in the '80s." I got exactly the same impression myself from the opening "This Pendent World," as I had scribbled down that it felt like a duel between two very different artists from the golden age of private press New Age: one kosmische-inspired synth wizard hellbent on taking me to space and another guy who just wants to lull me into a blissful, bucolic reverie with some pretty string swells. There are also some traces of a third guy who closely resembles contemporary Andrew Chalk, as there is a loose melodic theme of wobbly, liquid tones likely originating from an electric piano. While that is certainly an odd collision to encounter on a Milton-themed Andrew Chalk record, it works surprisingly well, amiably and amorphously drifting and curling like a trail of smoke. The following "Paradise Lost" is similarly form-averse, but in a much more compelling way, as its frayed and smeared swells of warm synth tones feel teasingly just out of focus. Additionally lurking within the artfully blurred dream-fog are a slow-motion tumble of acoustic guitar fragments, ghostly traces of Naoko's lovely singing, and probably some pedal steel too. I am tempted to make a wince-inducing pun on the album title here, but "Paradise Lost" is simply too beautiful of a piece to deserve such an indignity, vividly evoking the slowly streaking and shifting colors of an especially gorgeous sunset." [Brainwashed] https://andrewchalk.bandcamp.com/album/paradise-lost	2021	€19.50
CHAOTALION	Tannenholzrauch	CD	"Dark fir woods and weird pentagram-esque runes on the cover: How can the contents of this album not be a clichéd, possibly black-metal influenced rendition of the idiotic “stay true to the soil” creed? Well, Alexander Marco has succeeded in tricking us all. His music on this album under the Chaotalion moniker is a vast expanse of breathing, pulsating ambient dreamscapes, cleverly evoking certain black metal genre elements, but totally eliding its ideology. Marco uses guitar and electronics to create the music on this album, but his textural approach owes a good deal to his work with not-so-musical sounds. A regular participant in the Noise Factory sessions hosted by Y-Ton-G, Marco is also schooled in musique concrète and assemblage of found sounds, and this rather constructivist approach gives this release a refreshingly sober, clear, kitsch-free touch. Actually, the album, with all its packaging and teutonic titles, might well be a conceptual ‘joke’ on certain ‘black’ aesthetics, but the music is too well-crafted to allow for an easy interpretation as a simple parody. File under: ambient" [label info] www.attenuationcircuit.de "Attenuation Circuit Records have been rumbling around for a while. It’s mindblowing how much effort Sascha puts up into his releases, shows, tours, and his activism on the contemporary avant-garde scene skyrocketed the label to the top. It’s no wonder why this is the case considering the number of releases Attenuation Circuit has managed to publish in previous years. The numbers speak for themselves. Tannenholdrauch by Chaotalion is just a tiny particle in the label’s vast universe, but the significant gear on the modern dark ambient scene. The album comprises of nine cleverly layered dark ambient numbers that burst with eerie atmospherics. These eerie atmospherics consist of a wide array of spacey sounds, subtle synthetic drones, occasional guitar experimentations, and delicate non-organic noises. Chaotalion uses calm tones as overtures for his compositions, perpetuated by simplistic ambient keys. The situation becomes complex when the artist includes the mentioned elements to enhance the overall listening experience. The transitions between monotone and polytone sequences are nicely composed, so Tannenholdrauch keeps attention thought complete sessions. There’s a certain accentuation of composite darkness showcased through loads of assorted half-tones. However, Chaotalion maintains a dosage of melody that sounds intentionally odd, but pleasant to the listening apparatus. The artist has also included pulsing sequences at some points to retain listeners’ attention during the exhausting monotone segments. Still, these monotone segments are incorporated to maintain a dark, depressive, obscure ambiance that lurks around throughout the complete album. If that was the intention of the Chaotalion, than the artist unquestionably nailed in his intent to depict macabre imagery through Tannenholdrauch. The album comes with minimalistic photography of the woods, characteristic for depressive black metal bands, and it includes stylized pentagram logo, which serves as a Chaotalion’s symbol. Tannenholdrauch carries the dosage of depressiveness characteristic for the vast majority of dark ambient works, but this particular one provides a more eerie atmosphere than the other artists. Tannenholdrauch has come as a compact disc, and it can be purchased at the Attenuation Circuit Bandcamp page." [Thoughts Words Action]	2015	€8.00
CHASE, BRIAN	Drums & Drones	CD & DVD	"A first for Pogus! This fantastic new 2 disc set by Brian Chase, drummer for the Yeah Yeah Yeahs, contains both a CD of the music and a DVD of the music with videos by New York video artists Ursula Scherrer and Erik Z. This recording is exactly what it says it is : drums and drones - based on Just Intonation tuning theory: A tuning system modeled after a naturally occurring acoustic phenomenon known as overtones, the subsidiary tones which exist in an ordered series from an established primary tone. Stemming from this single primary tone an infinite amount of overtones can be derived. As Chase explains: Drums and percussion has seen some but not much exploration in Just Intonation, yet they are inherently designed to represent it as such: a drum head is tuned to a single pitch, one frequency, and resonates with rich harmonic detail. From there the overtone series can be uncovered and expressed. The Drums and Drones project deals directly with approaching drums and percussion from the standpoint of Just Intonation.For Chase, the genesis of this project is outlined in this brief excerpt from his liner notes: The Drums and Drones project initially came about from inspiration by La Monte Young and Marian Zazeela's Dream House installation in TriBeCa, NYC. I had spent a good amount of time, volunteering there as a 'monitor' someone who minded the installation and greeted visitors. The duration of my shift, about 4-5 hours, was mostly spent sitting directly outside of the gallery space, listening and feeling the immense sound pulsing through the door and walls, and reading up on the principles of Just Intonation and the historical background of La Monte, Marian, and their cohorts of the NYC experimental art scene. I accumulated countless hours, too, sitting in the space itself, embracing the impact of the finely tuned sound and light vibrations. The tones would dance in my head, hypnotic and entrancing, and I would hear tones that previously seemed veiled which were now resonating loudly and clearly somewhere between the air, my ear, and my brain. I was mesmerized by the power of this physiological experience.With the pieces that were developed for a Feb. 2007 concert, a starting point was formed for what was to grew into a recording project. I had the idea of approaching the project as being a series of etudes, each one a study in the different ways of the application of the Just Intonation tuning theory to drums and percussion. Eventually I did develop a basic method which laid the groundwork for most of what was to come with D & D: 1) tune the drum head to a specific frequency 2) mic the drum and run the sound into a computer 3) with recording software, use very precise, a.k.a. surgical, equalization to emphasize and boost the frequencies of the drum's overtones. Also as part of the setup was a loop pedal, but at this stage it was used more for live performance. Another important method that I developed at this stage was getting sustained feedback tones generated between the resonating drumhead and the stereo speakers. To do this, I would boost a specific frequency on the EQ corresponding to the fundamental or a low harmonic, and this would encourage the drumhead to vibrate at that frequency. A feedback loop would get going between the drum and the speakers. Often times I would need to raise or lower the pitch of the drumhead ever so slightly to 'dial in' the tuning of the feedback tone. Each etude developed at this time would highlight a different set of overtones and showcase a specific playing technique.Brian Chase is a drummer and composer living in Brooklyn, NY. Growing up on Long Island, he started taking private drum lessons when he was 5 that led to earning a Bachelors of Music from the Oberlin Conservatory in Ohio. Though he works in a variety of contexts, Brian is probably best known as a member of the rock group Yeah Yeah Yeahs, a band that has toured extensively throughout the world and has been nominated for two Grammys. Other recorded projects include the Seconds, a minimalist punk rock band that has two albums on the 5rc label, a duo ensemble with saxophonist Seth Misterka that has a record on the Heathen Skulls label, and Jeremiah Lockwood's Sway Machinery with a record on JDub. Performance collaborations have included Matt Welch, Jessica Pavone, Mary Halvorson, Stefan Tcherepnin, Alan Licht and Okkyung Lee. Brian is also interested in the Just Intonation tuning theory and is heavily influenced by the work of La Monte Young introduced to him by guitarist Jon Catler." [label info] www.pogus.com "The next release is the first DVD release by Pogus, with the same music on CD. I went to straight to the DVD. Brian Chase is the drummer for the Yeah Yeah Yeahs (which name I may have come across, but surely not their music, as far as I know), a rock group. I must admit I didn't know what to expect from a disc in which the title already tells us what's going to happen. But exactly how drums create drones, or how the two are going to be married, is of course the big question here. Inspired by LaMonte Young and Marian Zazeela, Chase started to tune the drum head to a specific frequency and 'mic the drum and the sound into a computer' and then using software with very precise equalization to emphasize and boost the frequencies of the drum's overtones. In a concert situation he would also use a loop pedal. That was one starting point, the other was to have drum heads resonate with feedback loops between drum and speakers. None of this is actually be seen on the DVD, and the images, created by Ursual Scherrer and Erik Z, which are mostly abstract affairs of multi-layered images, that fit the music rather well. In many of these pieces one hardly has the idea one is listening to anything that is even remotely drum like, except perhaps 'Stick Shot Harmonics Drone', which is also one of the pieces in which the video seems to be running along with the music - in sync. But many of the other are like sustaining tones of sometimes sine wave like sounds, waving slowly and majestically about. If you listen closely you may recognize a bit of drum here and there, maybe more apparent if you play the CD and not be distracted by the visuals. As someone who loves drones, I must say I was quite taken by this release." [FdW/Vital Weekly]	2013	€18.00
CHASSE, LOREN & MICHAEL NORTHAM	The Otolith	CD	58 Minuten voller Wunder und Geheimnis! Mehrere Jahre haben LOREN CHASSE (THUJA, etc.) und MICHAEL NORTHAM eine unglaubliche Fülle von Klängen zusammengetragen (Field Recordings, Aussen-Objekt-Aufnahmen, Instrumentalsounds) und daraus auf acht Stücken Räume voller konkreter Details und dröhnender Sphären erschaffen, es tönt so soft und obertonreich und doch nie beliebig, Originalsounds bleiben oft im dunkeln aber betören stets in höchstem Maße. Das ist "organischer Ambient" oder "Microsound Musique Concrete" in Vollendung! "The recordings of Loren Chasse and Michael Northam begin and end with the great outdoors. Yet, the well-documented wanderlust of these two kindred sound artists is only part of the equation. Field recordings of wind, water, and stone intertwine and hybridize within private rituals of droning psychedelic ragas that return as a folklore reiterating the mystery of the natural world around us. Through his numerous contributions to the multi-faceted Jewelled Antler as well his solo work, Chasse has long postulated the microphone as an extension of his ear, which magnifies and probes the surface of the earth for a tactile grit that permeates all of the sounds that he generates. Northam claims his inspiration from vast geographies, microscopic detail, and severe weather, which he compacts through various techniques to explore what is between improvisation and acousmatic composition. Both Chasse and Northam entertain such notions through an alchemy of arcane instruments: autoharps, ouds, flutes, bells, gongs, bowed wires, harmonium, and Northam's magnetic table harp. The Otolith is the result of several years of work, with sounds gathered collectively in the San Francisco Bay Area and throughout Europe. The album speaks as a bramble of fence wire and chaparral scrub oak, acquiring an unkempt collection of rubbish, cobwebs, insects, and soil within its tangle. As the wind pushes in one direction, this mass emits a quite if scratchy melody as if the ghost from a forgotten song; but when the wind changes directions, it bellows a rasping din of metal and vine cracking against itself. This sodden calliope tumbles into a miasma of droning atmospheres, softly rasped distortion, and very subtly rendered lulabies lurking deep within the overgrowth." [label info] " Throughout the Marin Headlands just north of the Golden Gate Bridge, the coastal mountains are dotted with countless bunkers which were built during World War II in anticipation of the Japanese invasion that never came. Nearly 70 years later, these bunkers have been weathered by wind, fog, rain, and of course the sodden folks who tromp through the Headlands on a daily basis. These concrete structures with small portals facing the Pacific all have amazing reverberant qualities; and it shouldn't be a surprise that the more frequented bunkers and passageways inevitably echo with the sound of children dying to hear their own voices tossed back to them. The Headlands have been a favored destinations for Loren Chasse, who has sought many of the lesser known and lesser travelled environs for field recordings and jam sessions that would eventually work their way into all things Jewelled Antler (Thuja, Franciscan Hobbies, The Blithe Sons, Of, Ov, etc.). In his recordings, Chasse extracts a profound mystery and grand sense of wonder from that echo, the bunker's grit, the soft recurrence of surf bleeding through those walls, and the distant bleat of a foghorn. Back in 2005, Chasse took his fellow globetrotting wanderer Michael Northam to the Battery Townsley where the two set up long string wires and various handheld instruments to begin a series of recordings which took a few years to complete after Northam left California. The two did manage to meet up once again in Estonia, there exploring the Soviet industrial ruins that pock the Estonian landscape with similar intentions. Out of the bramble of overgrown weeds, rebar, concrete, dirt, rock, wind, and water, Chasse and Northam straddle those psychedelic leanings of Jewelled Antler and the more studied aspects of minimalism. The Otolith begins with an acoustic clamor, as if billions of iron filings were brushing against each other under the direction of a couple of hefty magnets, before shifting into a harmonium blur of sustained tones hinting at a melody well beneath these clouds of tousled energy. Softer drones and Aeolian fragments flutter forth out of bowed strings and gently tapped gongs amidst a golden hue of opiated atmospherics. Scrabblings across the surfaces of leaves, rocks, mud, and metal fuse with field recordings of wind and water, as a continuing demonstration of Chasse's alchemy with naturalist sound to bring forth stately ragas and dreamtime psychedelic lullabies. Chasse and Northam work amazingly well together, having produced this thoroughly amazing album. Think Popul Vuh, Parson Sound, Pandit Pran Nath, Harry Bertoia, and Eric La Casa. Totally beautiful and mesmerizing." [Aquarius Records review] www.helenscarsdale.com	2008	€13.00
CHAUVEAU, SYLVAIN	The Black Book of Capitalism	CD	"Erste Solo-CD von Sylvain Chauveau aus Toulouse, Mitglied der ebenfalls hochgelobten MICRO:MEGA, die eine vielseitige Verknüpfung von mehreren Stilen vorgenommen haben. "Le live noir du capitalisme" ist introvertierter und (noch) melancholischer ausgefallen als man es von MICRO:MEGA kennt, langflächige Pianopassagen, Violine, Gesang, dazu aber auch einzelne Samples, Bläser,... aber auch leicht experimentelle Anwandlungen, perfekte Filmmusik.... herbstlich-warm, einsam, unglaublich nostalgisch & wunderschön, eine CD für die Insel." [Drone Rec. info 2001] "Originally released in 2000, Le Livre Noir Du Capitalisme was the first album from French composer Sylvain Chauveau. Now in 2008, it has been remastered and repackaged for Type Records, translated into the English The Black Book of Capitalism. This record was the first the world had heard from Sylvain, a musician who had been rooted in post-rock before realizing that he could do a lot more with the instruments around him. On The Black Book of Capitalism, we hear a rare playful side to the composer as he flirts with Gallic classical music, electronica, jazz, and even indie rock. The variety splintered into various side-projects as Sylvain moved on in the music scene, but here we get a sense of confident experimentation without a hint of cliché. Sylvain's sound would go on to influence a host of other artists and kick off an entire sub-genre of modern classical music, but strangely enough, this debut album has been out of press for some time. Now remastered by Dubplates and Mastering in Berlin and on vinyl for the first time ever, it sounds more relevant and timeless than it ever has. Beginning with a cloud of smoky ambience, piano, strings and the atmospheric field recordings that frame the record, we are dragged into Sylvain's noir-esque world. This sets the scene for the entire album which drifts through the kind of piano-led classical vignettes popularized by Max Richter and more recently Goldmund, yet punctuates these with doomy jazz and lighter pieces such as the guitar-led "Dialogues Avec Le Vent." The result is a beguiling collection of pieces which show an incredibly inventive mind at work, a mind refusing to be held to one specific style, or even time." [label info] www.typerecords.com	2008	€13.00
CHEN_PITCHER_VAN NORT	One History of Troy	LP	This album was recorded in 2012 by the free improvising trio of Jonathan Chen (violin, viola), Jefferson Pitcher (guitars, clarinet, field recordings, playground – its metal structures being used as a percussion set-up) and Doug van Nort (electronics, GREIS = Granular-Feedback Expanded Instrument System, van Nort’s own ever-evolving performance system and digital music instrument). The title refers to the town of Troy, New York, home of the Rensselaer Polytechnic Institute, with which the three artists have been involved with during their career. Their shared memories of living and working in Troy shine through as a conceptual basis for the improvisations on this album. Titles like “The Hudson” and “Northern White Pine” situate the music in a geographical location – but the field recordings from different places, such as Chefchaouen Province in Morocco, open up this history to other sound-worlds. The album is dedicated to the late Pauline Oliveros, with whom all three musicians collaborated during her lifetime. It is a fitting tribute to an artist with such a wide range of interests, abilities and fields of influence. Certainly, Oliveros’ focus on deep listening as a key to creating one’s own sounds is present not only in the mindful way the musicians interact with each other, but also in the way they integrate non-musical sounds from field recordings into their instrumental interplay. Likewise, the interfacing of acoustic instruments and live electronics that Oliveros pioneered in her expanded accordion set-ups is used to great effect by Chen, Pitcher, and van Nort. Instrumental and electronic timbres blend seamlessly, with harmonic/melodic and noisy elements perfectly balanced. The album is dominated by calm, rather meditative pieces which exude a certain melancholy – quite apt for a tribute by three artists to a deceased colleague and friend. However, the final piece “Chefchaouen Province \| American Town” develops into an exuberant powerplay that makes the sheer joy of sculpting and connecting sounds, be they notes or noises, almost tangible. And, now even more than at the time of recording, the peaceful coexistence of an Arabic chant with an American brass band within said piece can also be heard as a sonic utopia, an acoustic glimpse of an alternative, and better, reality. All Pieces composed and improvised by Jonathan Chen, Jefferson Pitcher, Doug Van Nort. Electronics, Electronics [GREIS], Composed By – Doug Van Nort Guitar, Clarinet, Sounds [Field Recordings], Sounds [Playground], Mixed By, Composed By – Jefferson Pitcher Mixed By, Edited By, Mastered By – Ron Guensche Violin, Viola, Composed By – Jonathan Chen Recorded in Jefferson's basement and stairwell, early summer 2012. Final mixing, editing, and mastering by Ron Guensche at New Future Vintage in Okaland, CA.	2017	€17.00
CINDYTALK	Silver	7inch	"We dream in colour, is the title of the new Live music project, curetted by six d.o.g.s (www.sixdogs.gr) and Angelos Petroutsas (Prince of Poverty), that consists of seven live concerts in the Gig Space of six d.o.g.s venue in Athens Greece, starting from February 2011 and ending in December 2011 of seven music artists, and the release of seven 7” by Tourette Records, in which the artists shall contribute music for the project. Each artist has been assigned with one colour in a “journey” from the moon to the sun, and each 7” is considered as a blooming coloured flower and as seen in the art work of the jacket a bee dancing in coordinates with the sun showing to other “bees” where the “nectar” music can be found and a solar clock pointing the time of each live concert taking place in Athens. Each 7” vinyl shall be released in the colour assigned to each artist in 300 limited edition copies and the artistic direction is by Pindaros (www.arsondpi.gr), the first seven vinyls from each release will be all united in a limited edition box of seven copies in the form of a bee hive made from black non see through Plexiglas, with a surprised art work inside to be revealed to the ones that acquire them, plus as each box will be dedicated to each artist taking part in this will include also the test press for each one. The artists that are participating in the project and their colours are as follows : Silver - Cindytalk Yellow - COH Red - Οthon & Tomasini Green - Troum Violet - Mark Spybey (Dead Voices on Air) & Jochen Arbeit Blue - Fabrizio Modonese Palumbo & Little Annie (USA) Orange - ?" [label info] www.touretterecords.com	2011	€10.00
CISFINITUM	The Bog	CD	"This album dedicated to the archetype of Toad in world's mythology and based on re-processed sounds of frogs, toads and swamps.I made this field recordings during my travels in China, India and Kavkaz , also i receieved a part of them from friendly sound artists as Mars F. Weillink (x-Vance Orchestra) , Andrea Marutti (Amon) and Roman Voronovski (Rombix). Track 3 contains a looped voice by Dasha Baskakova and sounds recorded at Volkonski Dolmen using sine generator and dolmen original acoustic. Track 4 based on pitched loops of my violin and sounds from Mars. No any preset sounds/ synths used on this record. The term "toadstool" was often applied to poisonous mushrooms or to those. Between 1400 and 1600 A.D., this term were used synonymously with some mushrooms of umbrella-like cap-and-stem form. the myth of a Princess Frog exist in a different cultures. In Russia its a character of some russian magic tales of archaic times...Symbol of Princess Frog- is a frog keeping an arrow in mouth and with a crown on the head. Similar myths also exist in Chinese and South-American cultures.The image of a princess frog goes back to an archetype of totem spouses whom the primitive hunter should "marry" that hunting has gone right. Wedding on this totem was symbolical, in special ritual. The myth which explained sense of ritual, told about a marriage on totem spouse so that the cultural hero had an opportunity to receive for people any blessings, good hunt etc..." [label info] www.infinitefog.ru "Of much more interest for this rag is the music from Cisfinitum, the musical project of E. Voronovsky and for this new release he invited a bunch of friends to send him field recordings of frogs, toads and swamps. Friends such as Mars F. Wellink (x-Vance Orchestra), Andrea Marutti (Amon) and Roman Voronovski (Rombix) but he himself taped also some of these during his travels in China, India and Kavkaz. The cover mentions several references towards toads, mushrooms and the Princess Frog myth. That too might by a bit gothic, one could think, but the music is quite nice. There is talk, on the website, of various pieces, but there is one long piece on the CD itself, and with some good will, you can dissect that to smaller parts, slowly merging into one another. Heavily processed field recordings, created by means of computer treatment, time stretching, lots and lots effects, mainly reverb, stretch out this like a moist swamp land, sucking the listener inside, but as the piece evolves, and certainly the end bit, the last ten minutes, are very light, like a siren from the swamp singing for us. It's actually "pitched loops of my violin and sounds from Mars. No any pre-set sounds/ synths used on this record", which I thought was a nice bit of information. In terms of ambient, drone, soundscaping and such like, there is, perhaps, nothing new under the sun, but I thought this was not really a problem (if such would be a problem at all), as I wasn't looking for any of that. A highly enjoyable dark ambient album by one of Russia's best assets in this field." [FdW/Vital Weekly]	2013	€13.00
CISFINITUM & THE [LAW-RAH] COLLECTIVE	[ANS]werk	CD	"Russian one-man outfit Cisfinitum and Dutch duo The [Law-Rah] Collective are both dark ambient masters. They dedicated this split and common work to one of the very first synthesizers in the world, the ANS. The ANS, created by Russian engineer E. Murzin from 1937 to 1957, is an incredible response to the synesthesia theories (the letters ANS stand for Alexander Nikolayevich Scriabin who linked tones to colours). The ANS synthesizer (only one copy exists and is kept in Moscow) generates special frequencies from drawings ("it plays what you have drawn") and in the opposite it can also create a visible image of a sound frequency. Artists such as Coil, Edward Artemiev (for Tarkovsky's Solaris soundtrack) and Alfred Schnittke used the ANS in their compositions. For this album, The [Law-Rah] Collective and Cisfinitum based their music on original sounds from the ANS as well as additional recordings of various analog synths, fractal and granular synthesis, voice, violin, field recordings. They give birth to an intense cold and grey music upon which fly ghosts of melodies, archaic or yet to come... * Track listing : * 1. the [law-rah] collective - broken gl[A]ss (9:12) * 2. the [law-rah] collective - broke[N] mirrors (7:38) * 3. the [law-rah] collective - broken dream[S] (9:08) * 4. cisfinitum - tr[ANS] (22:52) * 5. cisfinitum / the [law-rah] collective - [ANS]werk (7:02)" [label info] www.feardrop.net/fario "Fario is not quick with releasing their series of split/collaborative works, but they are usually something to watch out for. There are original tracks by each of the two groups involved and a collaborative piece. At the core of this new release stands the ANS synthesizer, of which only one exist, in Moscow. It was developed by E. Murzin from 1937 to 1957 stands for Alexander Nikolayevich Scriabin, the crazy composer with synesthesia problems. The synth translates drawings into sound, and was used by the likes of Coil, Edward Artemiev (in the 'Solaris' soundtrack) and Alfred Schnittke. I am not sure, but I don't think that Eugene Voronovsky, a.k.a. Cisfinitum and the Dutch duo The [Law-Rah] Collective actually used the ANS, but they use sounds from the machine, as well as voices, polivoks, violin, field recordings (in Cisfinitum's case) and analog synthesizers and electronics (in the Collective case). Cisfinitum's piece lasts almost twenty-three minutes of utter dark textured ambient bliss. Dark haunting, like a couple of mad monks chanting in the desolated abyss, before going out on a murder spree. Excellent dark trip. In their collaborative piece things sound slightly less dark and more conventional, in a sort of serious avant-garde way, the sort of Planet Of The Apes soundtrack. In the three pieces by The [Law-Rah] Collective things go under again, into the undercurrent of the styx with dazzling sizzling buzzing and ringing sounds of the analogue domain. Though their pieces are less of monolithic block of drones than Cisfinitum, The [Law-Rah] Collective have a somewhat more open sound, grey rather than black. Not really the type of music to be played alone in the dark. Keep candles burning until the end. An excellent display of the darker world of sonic depth." [FdW/Vital Weekly]	2011	€13.00
CLOAMA	Embargoed	CD	Latest album from ambient-industrial artists active for 20 years! Embargoed is good continuation from Municipality Of Marionettes LP or At The Mountains Of Paranoia ‎CD, but still expands the atmosphere and gloomy industrial soundscapes to wider. Massive opening track shows Cloama skilled in working without synthesizer sounds. Making impressive gloomy post-industrial soundscapes from wide variation of sound sources. Eventually tracks move closer to two past albums, including eerie guitar-drone and synth oscillations as well as subtle synthesizer pulsations combined with ethereal female chants. Highly atmospheric and experimental full length certainly belongs to the very best of Cloama! https://www.youtube.com/watch?v=vezIdrXLl14	2018	€12.00
CODACHROM	Plastinka	10inch	"First-class electronic-space-pop with retro flavor. A gem for fans of analogue electronics, old drum machines, vocoders...Two talents of current European electronic music together on a special project. CODACHROM is the duo formed in 2012 by Eugene Voronovski and Miguel A Ruiz, from Madrid. Voronovski is one of the most renowned musicians of the current Russian electronic music scene. One of his most acclaimed projects is Cisfinitum, within the so-called industrial-drone-ambient scene. He collaborated with Miguel A Ruiz in the past on the amazing "Ornaments" CD (Longs Arms, 2007). Ruiz is one of the most noted Spanish electronic musicians since the early 80s. CODACHROM is a new electronic-rhythmic project, born out of the exchange of sound files between these two musicians, created with analogue drum machines, assorted synthesizers, modified video game consoles, vocoder and Eugene's processed violin. Computers have only been used in the editing of the final sound but not in the composition process, which gives this record a freshness and a completely retro feel reminiscent of the electronic pop of pioneering artists, 70s space electronic disco music and 80s tecno-pop. PLASTINKA is the perfect music for a space-themed party. It's inspired by moon craters, especially the great crater Tsiolkovskiy, located in the far side of the Moon, to the west of crater Gagarin. That's where, from time to time, these two talents of current European music gather up and turn on their machines, offering spontaneous live shows to strange beings that rise up from the nearby craters. With a bit of luck, the flickering lights of their synthesizers can be seen through a telescope from our planet." [label info] www.geometrikrecords.com	2013	€13.00
COELACANTH & KEITH EVANS	Wrack Light in Copper Ruin	CD & DVD	Audio CD von COELACANTH, Video-DVD von KEITH EVANS. Ein Geräuschnetz aus field recordings, leicht feedbackenden drones, vereinzelten instrumentellen Sounds & eher konkreten Objekt-Klängen macht sich breit, welches mysteriös und dynamisch zugleich wirkt, ein low-fi dröhnend-wallendes Etwas. Sowas wie pfeifende Windhosen, zischender Sand, rieselndes Granulargeknirsche...schwer zu fassen, alles scheint permanent zu flackern, flirren, schwanken, dicht dran am konkreten Material, & doch so sphärisch & Räume öffnend. “Jim Haynes and Loren Chasse have collaborated with Keith Evans to create Coelacanth's fourth and most complex record. Culled from two performances -- a five-hour recording session during Matmos's 96 hours of performances at the Yerba Buena Center for the Arts, and an audio/visual performance with Keith Evans -- Wrack Light in Copper Ruin explores the the symbiosis of materiality and sound, and its infinite network of metaphors and allegories. Like an abandoned aquarium in which an accidental and incongruous microcosm takes shape, Coelacanth's sound illustrates a constant evolution of decay, encroachment, and repossession of the border space between the natural and the man-made. With Wrack Light in Copper Ruin, Coelacanth also meditates on the space of performance, the tactile nature of the creation of sound, and its ephemeral, elusive and entirely subjective character. The visuals of Keith Evans further the exploration with their organic, nocturnal, energy. Comparatively, Wrack Light is more delicate than Coelacanth's previous recordings, inhabiting a space where artists such as Jonathan Coleclough, Andrew Chalk, Mirror, and MNortham can be found, yet it maintains the mysterious, oceanic nature its name implies.” [label info]	2006	€15.00
COLECLOUGH, J. & LETHE	Long Heat	CD	Collaboration von JONATHAN COLECLOUGH mit dem japanischen Cellisten & Impro-Droner LETHE ! Far-away drones, die man kaum fassen kann, dicht & subliminal, unwirklich & undurchdringlich, zeitweise sehr kraftvoll & konkreter werden in Mikrosound-Bereiche hinein, alles andere als statisch, mit überraschenden Wendungen. “It's a pity that there is not much information on the cover of this CD, since it would be interesting to know what is going on here. Lethe is the Japanese Kuwayama Kiyoharu, who has released a CD on Trente Oiseaux of his cello/drone music aswell as a couple of releases on his on own label (and a collaboration with Kapotte Muziek is forthcoming on Intransitive). The reader who has been paying attention knows the name Jonathan Coleclough as being on this reviewer's favourite drone artists. Now, why would it be nice to know just a little bit more? Is it Lethe sending sound material to Coleclough? Perhaps. It seems to me the most logical thing upon hearing this CD - well, two actually. If you want you can order a copy and order an extra bonus CD with 'Long Heat - Second Part'. It has the majestic sounds that is the trademark of Coleclough. These long drone sounds that slowly change shape, change colour. But that's only one part of the game. Coleclough adds another layer of heavily reverbed sounds of falling objects. An additional third layer is used for utter dry sounds – scratching the surface. Three distinct layers of sounds that over the course of each disc start to intermingle with eachother, they slowly merge together, but it's not that a blurr arises, not at all. From these slowly merging masses a new distinct and powerful drone arises above the field which slowly moves on and follows it's own course. Once this course is gone, the material falls apart like small particles, suddenly, without warning. But like said: is this what is done, or is it the work of Lethe producing this work with the use of Coleclough soundmaterial? Something says here, this is not the case. Hard to tell why, so it remains mere guessing. But is it important, all this guessing? Perhaps not, I am sure it is not important at all. Isn't this were the result counts? I am sure it does. And sure it does count. This is a beautiful work of drone music. Majestic stuff, moving slowly forward. Great stuff, but maybe I'm a little biased here.” [FdW / Vital Weekly]	2005	€14.00
COLECLOUGH, JONATHAN / BASS COMMUNION / COLIN POTTER	same	do-CD	Another re-release, on the Aquarel label, of this double collaborative CD, which has long been out of print, becoming a collectors item. The new issue is housed in a high-quality gatefold sleeve. Here\'s what Lucas Schleicher said about it on Brainwashed. \"Jonathan Coleclough, Steven Wilson, and Colin Potter are all gurus of the meditative and sublime, crafting from seemingly thin air the most delicate and shattering of sounds. Every track has a heaviness or a weight that can feel paranoid or transcendental. ‘Pethidine’ is a twenty-eight minute pause, frozen perfectly in space and time. It develops and unfolds slowly, revealing each of its particularities only to show that they are indeed one entity turning inside out. Being surrounded physically by this sound has literally kept me warm at night. ‘Epidural’ manages to erase all memory, all sensation, and leave only the truth of intuition in its wake. Its immediacy, weight, and thrust is unequalled in much of the music I know.\" https://retortae.bandcamp.com/album/jonathan-coleclough-bass-communion-colin-potter https://icrdistribution.com/collections/other-artists/products/bass-communion-jonathan-coleclough-colin-potter-icr-39-cd	2022	€19.50
COLUMN ONE	AntiphoNA	10inch	" 'ANTIPHONA AD INTROITUM'! Finally on SUBSTANTIA we can present to you the highly regarded German masters of experimental dadaism & de-construction, whose releases are always a thoughtful play with hidden meanings, conceptions & contradictions: 'Learning to play. Disorder. Destruction of programmed Solutions. Learning to see.' COLUMN ONE is a long existing collective of multimedia artists hailing from the Berlin-area with frequently changing members; their performance & artworks are as important as the music (see also their impressive website: www.column-one.de). On this mysterious 10" you will disocver two pieces that sound completely different: ANTIPHONA is a bewildering work of musique concrete, changing between very fast moving collages and quieter parts, always surprisingly fractured, using an amazing quantity of different sound-sources of all kinds. The second piece INTROITUM is a meditative overtone bowl-drone recorded at the legendary "Sibirische Zelle" in Berlin with three microphones in three different rooms, resulting in strange sound-effects and audio interactions. Both tracks can be regarded as anthiponies forming a single whole. For us these are metaphors for the emergence of the "Irrational" and "Sacred" in the daily profane lives, using notions from religious scopes in a new context. Side A ends in an endless groove, the artwork comes from SEAN HILLEN, pressed on bleak vinyl in an edition of 500 copies." [label info] www.substantia-innominata.de "Following Illusion Of Safety's 'Sweet Dreams', Germany's Substantia Innominata (daughter of Drone), returns with another fine work of some the older garde of experimentalists, Column One from Berlin. They have been around for quite some time, and for them the presentation is equally important as the music, and there is always some sort of link with dada, even when it's quite well hidden, like on the b-side 'Antiphona' 10". Or the a-side, depends which one you play first. I started out with 'Introitum' in which a salad bowl is played. It's recorded with three microphones in three different rooms. I wouldn't be surprised to learn that Peter Hollinger, who played the bowl, was walking around, as to catch the overtones in various ways. The location was a masonry, so there is quite some natural reverb. He plays it graciously and it makes up a wonderful simple but lovely piece of 'drone' like music. The title piece can be found on the other side of the record and shows the dada side of Column One. All of the members seem to donates 'sources' as well as Antoine Chessex playing saxophone and Robert Schalinski on zither, voice, gongs, saw, acoustic instruments and field recordings. The editing was done by by Jurgen Eckloff. This is a fine piece of instrumental passages by the duo of Schalinski and Chessex and taped media excerpts by the others. Set next to each other, rather being superimposed on each other. Its hard to say what this piece means, if anything at all. I'm sure it does however. It's perhaps not a piece one easily expects from this label, better known for music such as captured on the other side, but it's a daring out-of-the box movement of said label, and therefore needs our applause. And Column One? They just always surprise us." [FdW/Vital Weekly]	2013	€12.00
COMES, MARTIJN	Interrogation of the Crystalline Sublime	do-CD	Martijn Comes - Interrogation Of The Crystalline Sublime "The human being knows himself only insofar as he knows the world; he perceives the world only in himself, and himself only in the world. Every new object, clearly seen, opens up a new organ of perception in us." — Johann Wolfgang von Goethe I hear atmospheres, sound shapes, gestural narratives, spectral trajectories, stochastic rhythms and phasic space when I encounter an environment rich in sonic phenomena. But in order to be open to this meta-sensory information, I must first get my ears out of the way. I don't listen with my ears but with an inner sensory apparatus, what Goethe called "organs of perception," that I have developed over the years. Once opened to this world sound becomes something very different—it's as if one could previously only see in black and white and suddenly were able to see in color. One becomes a witness to a full range of qualities and events that were previously inaccessible. The drone is not a steady-state sound but a constellation of sound objects that lie hidden beneath a simple surface. The listener can penetrate this surface when they allow time to exist in a space where the past and future collapse into an infinitesimal, yet infinite, moment. Once inside this space the drone serves as a conduit to other planes of existence and explains why spiritualized cultures around the world have used the drone in their worship for millennia. The drone integrates us with the supernal, a synesthesia takes place, all of our senses become a singular super-sense: there is no longer a distinction between sound and sight, or taste and touch. When we experience the world in this way we see the vast web of interconnections and how we deprive ourselves when we divide the world into the narrow-band regions of our senses. It is by transcending these boundaries that we become more fully human and open to the richness the world has to offer us. Kim Cascone - San Francisco, Nov 20 2015 https://movingfurniturerecords.bandcamp.com/album/interrogation-of-the-crystalline-sublime "Martijn Comes is a Dutch composer specialising in new media, sound design and electro-acoustic composition. His hour-long deep-drone piece Interrogation of the Crystalline Sublime was published on the spectacular Drone Cinema 2015 Raspberry Pi (!) release – the kind of gem every dronehead will probably dream of, but with a price tag only few can afford. So it’s a good thing that the Moving Furniture label decided to reissue this piece in a 2-CD version (ánd digital download of course): CD1 containing the hour-long Interrogation by Martijn Comes, and CD2 containing 8 remixes of that piece by Scant Intone, Mitchell Akiyama, Zeno van den Broek, Alberto Boccardi, Haarvöl, Juan Antonio Nieto, Giulio Aldinucci and Orphax. Comes describes his work as ‘livingroom music’ (possibly distinguishing itself slightly from Erik Satie’s ‘Musique d’Ameublement’ (Furniture Music), which was meant to be played by live performers). He set out to “write a piece that is equally meditative as it is harmonious and melodic, or at least it would hint at large subtle progressions of harmony, in a way that is magnetic to the imaginations, while the body remains in a meditative, relaxing state.” It’s an immersive drone, with hints of a shore in the background, that gradually grows intense and inescapable in its first half and then gradually recedes again. It is not often that drone material like this gets remix treatments by different artists, so it’s interesting to hear what other artists do with sonic material like this. Some of the remixers focus on the drone aspect, emphasizing different frequencies thus altering the overall feel. Others filter out artefacts (which can hardly be heard in the original), or add their own material to create abstract electro-acoustic compositions that hardly seem related to the original. Some focus on emotional aspects, others take a more analytic approach. Most of them venture into sonic extremes, thus losing some of the ‘livingroom’ aspect of the original. But each one of these remixes sound completely different – like if they were original compositions in the first place." [Ambientblog]	2017	€16.00
CONIGLIO, ENRICO / UNDER THE SNOW	Dialogue One	CD	"This is the first split work between UNDER THE SNOW and various artists/friends. Nearly an hour of suggestive "border" music, equally divided between the relaxing and ambient atmospheres contaminated with experimental elements created by Enrico Coniglio, and the low-fi/rough sounds and atmopheres crafted by Under the Snow (Stefano Gentile and Gianluca Favaron) - not so different but with a more dramatic, tense and hypnotic doom - built on deep drones stratifications, often hard and cutting, with a wide collection of noises, electronic hassles, ununderstandable wispherings, concrete moments... A perfect join-venture, a mix among two different music projects that gather coherence and inspiration to "sustain" a split album that showcases a not to be missed fusion of styles among the involved artists, oriented on parallel patterns, clearly increasing the value of their own personal and somehow different sonic directions." [label info] www.silentes.net	2011	€12.00
CONTAGIOUS ORGASM	Ripple	CD	The always genre-crossing project from Japan with a great album, dark & experimental, more rhythm based stuff, (but these are stranged out rhythms, not danceable ones!), but the usual "unlistenable" collage / found sounds-tracks are present too, the more the album continues, the weirder it becomes... again quite unique & not classifiable. "packaging: special transparent paper booklet w/ inlays + jewelcase. hiroshi hashimoto started releasing music twenty years ago as contagious orgasm. right from the beginning listeners knew that there was something very unique and special about c.o.'s sound - differing from the typical japanese 'industrial scene'. the initial aural transformation of track and release titles were soon replaced by something quite different. themes became more abstract and surrealistic; influences came from various collaborations and often seriousness was undercut with a wink... as on previous c.o. releases you can hear musical and stylistic sources from many cultural areas; for instance on 'ripple' you can hear indian chants, dub bass, electronic clicks/cuts, gongs, a piano, even straight beats and minimal sequencer grooves. styles range from free form to dance music to idm to noise and to ethnic sources. in hashimoto's works these ingredients cease what they were before - they are now transformed into coherent music (without being a eclectic cliché). an example: often many artists use voice samples in their work, to explain or to engross thoughts. hashimoto's usage of samples take the 'instruments of speech' out of their initial contexts - used in c.o.'s metaverse they entirely lose their initial intent and function. if we go further and think about 'rhythms', 'melodies' and 'textures' instead of 'voices', we might have a key to c.o.'s self conception. this album should be experienced with all senses wide open. enjoy this anniversary and look forward to the next twenty years of a great artist." [label description] "Three years ago I had the great honor of reviewing the first album on Ant-Zen Recordings by legendary Japanese sound artist Contagious Orgasm. Since I had always connected Hiroshi Hashimoto ( a.k.a. Contagious Orgasm) with the Noise scene, thanks to his contribution to various Noise compilations, among others Relapse/Release Entertainment's "Japanese/American Noise Treaty", I was quite surprised to listen his "Dessert Addicts Will Return To This" (Ant-Zen, 2004). This latest album continues the strange landscapes of numerous musical styles. Dealing with everything from drone-based as well as collaged noise, across clicks'n'cuts to almost danceable electro-inspired techno and eerie soundscapes of beautiful ambient, it is an impossible task to finish this album only within a few listens. It is a complex musical voyage, that atmospherically varies from icy minimalism reminiscent of Pan(a)Sonic to militant electro of Kraftwerk until towards the end where the album turns more dreamy and dramatic with a mixture between experimental ambience and gentle acoustic post-rock reminiscent of Tortoise. "Ripple" is a continuation of the style of "Dessert Addicts Will Return To This", and the result is even more intense and clever than the aforementioned. Turn off the light and let yourself fall into the psychedelic tones of Contagious Orgasm. Excellent!" [NM / Vital Weekly] label website: www.ant-zen.com	2007	€14.00
CONTEMPLATRON & SHENTZ	His Master's Voice	CD	In memory of Stanisław Lem (1921-2006) "Human beings should accept some humility. Sometimes we face phenomena the essence of which we are unable to understand. Even if we are equipped with the most modern scientific apparatus and knowledge we are incapable of resolving whether they are accidental or intentional. Newton once said that with respect to nature we are just children playing with shells on the seashore." - Stanisław Lem "His Master's Voice" (original Polish title: "Głos Pana") is a science fiction novel by Stanisław Lem, first published in 1968. It is a densely philosophical first-contact story about scientific efforts to decode, translate, and understand an extraterrestrial transmission. The novel can also be read as a critique of human intelligence and intentionality in the context of deciphering a message from outer space which forever eludes comprehension. Chaos is the primordial source that cosmically resounds in the microwave background radiation across the universe. To find sequences in this cacophonous confusion, to discover its principles and understand them, only to die holding on to a scrap of something much larger – this is what Lem's book as well as its apocryphal soundtrack are about. The abstract sound layers were created by two Polish artists from Contemplatron (dark ritual ambient) and Shentz (noise), and mastered by Peter Andersson (Raison d'être). Comes in 6 panel digipack. www.wrotycz.com	2016	€12.00
CORNFORD, STEPHEN	Domestic Music	MC	A state of enclosure" was recorded May 2020 for AMPLIFY 2020: quarantine. "A finite number of rooms" was recorded June 2020 for the ‘Building A Better Reality’ Black Lives Matter benefit compilation on JMY Music. Both are loosely based pages from ‘A Score for Piano’ written by Sarah Hughes in 2010. "After their departure" consists of a hearth recording made in January 2021 and a cassette recorded years before and found again in March 2021. Thanks to Sarah Hughes, Jon Abbey & Brent Gutziet. https://moremars.bandcamp.com/album/domestic-music-2 "I had a long time to see a new album by Stephen Cornford, the co-founder of Consumer Waste. Stephen is a sound artists from England that in the past he gave us some very interesting sound works and installations, using handmade electronics and reel to reel cassette recorder. His works like Six Tape Machines & Pinched Tapes #1 was for a long time a usual soundtrack of my listening room. On Domestic Music, Stephen Cornford tried for this album a new sound palette, based on home recordings of a prepared piano. The three tracks that can be found here comes mainly from a piano, played unexpectedly, with piano tunes produced mostly from objects that harms the piano strings. In the atmosphere of the album, there is a diffuse sense of isolation. The recordings seem to have been made in an empty room, with enough focus on the action and a ritualistic sense of the piano manipulation, using metallic objects and wooden sticks. The Last song “After their Departure” seems to be a very personal composition, a modern requiem, with piano and fire to be the only materials of the instrumentation." [soundtraag]	2021	€9.00
CORTINI, ALESSANDRO & MERZBOW	same	do-LP	Alessandro Cortini (Nine Inch Nails) and Japanese noise legend Massami Akita (Merzbow) share a mutual love for the EMS Synthi, a British synthesizer from the early 70's notorious for it's patch matrix, portability and distinct tone. Astonishingly, these two disparate artists meld into a single sound as they flex the analog circuitry of the EMS Synthi in new ways; giving this classic synth a modern workout and proving that, in capable hands, a 40 year old analog synthesizer is a tool for the ages.	2017	€32.00
COURTIS / MARHAUG	North and South Neutrino	CD	Two performers in collaboration rather known for their harsher or more chaotic works (Anla Courtis was a member of REYNOLS) create a very elegant and softly developing composition... this 45 piece begins very soft, with high & nearly inaudible frequencies, uses crackles & hisses and slowly develops into something LOPEZian, but with more changes and strange sounds in the cold ultra-spheric & far-away drones. great stuff !! “ This much expected collaboration (recordings started 5 years ago in Buenos Aires and Oslo), is released by Antifrost on February 1st. Lasse Marhaug, known from his solo works but also as half of US/Norwegian group Jazzkammer has been around for a long time and has collaborated before with artists such as: Maja S.K. Ratkje, Tore H. B e, Merzbow, Aube, Ronnie Sundin, Kevin Drumm, TV Pow, Francisco L pez, Leif Elggren,, Mats Gustafsson, Fe-Mail, Andreas Berthling, Otomo Yoshihide, Sachiko M, Taku Sugimoto, Mark Wastell, Matt Davis, Reynols, SPUNK, Kim Cascone, and many others. The other creative half of this collaboration work is Anla Courtis, the guitarist and main composer behind the famous Argentinian group Reynols. The cover illustration/ artwork of the CD is done by the prestigious Swedish artist Leif Elggren (of Elgaland/Vargaland - Fireworks Editons).” [press release] ”The Antifrost label has put out some of the most challenging records of recent times, and this collaboration between Lasse Marhaug, one half of Norwegian noise thugs Jazzkammer and Anla Courtis, the musical mastermind behind the unruly Argentinians reynols, is as forbidding as they come. For the opening half hour it is a minimalist exercise in the slow motion deployment of a small clutch of extreme frequencies. Then a richer metallic texture emerges from the brittle digital atmosphere recalling the isolationist going pieces of Thomas Koener. This darker, more brooding sound is submerged once more into the digital realm, as if we are viewing the same vast, immobile object from above and below the waterline. Or perhaps it is the subatomic particle referenced in the album title under two different magnifications. It's certainly not an easy listen, but submit yourself to its cold, dramatic logic and you will be rewarded.” [THE WIRE/ Keith Moline]	2004	€13.00
COURTIS, ANLA	Antiguos Dolmenes del Paleolitico	CD	„Alan Courtis hat altsteinzeitlichen Grabstätten, wie auf dem Cover zu betrachten, reine Feedbacks, ohne Einsatz von Mikrofonen oder anderen Instrumenten gegenübergestellt. Mit einem nachempfundenem Grundraunen steinalter, mit Menschenschweiß getränkter Felsen, beginnt der erste der mit Part I – IIII betitelten Stücke. Im Verlauf der gesamten knapp 48 Minuten erfahren die im Feedbacksystem gefangenen Töne eine Läuterung von sirrenden zu glasigen Drones – refreshed Drones, wenn man so sagen will. Damit ist aber keine einschmeichelnde Glätte erzeugt, denn die Töne wandern immer wieder in alarmierende Frequenzen höchster Register. Zur Schmerztherapie kommt der Gedanke an die Erbauer der Felskonstruktionen, wie sie tonnenschwere Steine ohne Kräne etc. aufeinanderstapeln. Behaglich lehnt man sich dann im Hörsessel zurück und lässt sich die Ohren mit akustischen Sticheleien reinigen.// Megalithic stone structures, to see on the cover, seems like an inspiration for these very pure recordings of Alan Courtis. „No microphones, instruments or inputs of any kind were employed in this project.“ as the linernotes are telling. The first track starts with a basic murmer of the old rocks. In the course of the 48 minutes, the tones of the feedback system change from buzzing to drones of crushing glasses – drones refreshed. That means no smoothness, because the sharp tones are moving up to highest frequencies. Thinking about the humans who have built up these stone structures under pain, the listener leans back in his armchair while acoustically brooms are cleaning up his ears.” [Peter Schlewinski for Drone Records] "...a composition in four parts created exclusively with processed no-input feedback and inspired by these stone monuments. It was created in early 2004 and is the first full-length solo CD from Argentinian composer Alan Courtis, a founding member of the group Reynols. Courtis currently lives in Buenos Aires, and has toured extensively in USA, Europe, Japan & Latin America collaborating with artists such as: Pauline Oliveros, Damo Suzuki, Toshimaru Nakamura, Makoto Kawabata, K.K. Null, Rick Bishop, Thomas Dimuzio, Jason Kahn, Solid Eye, Birchville Cat Motel and Lasse Marhaug. Technical equipment employed: Phonic 1002? Mixing Desk, Art SGX LT Effects Processor, Digitech RP6 Effects Processor, DOD FX55B Supradistortion, Tascam 424, PC (Wavelab). No microphones, instruments or inputs of any kind were employed in this project. Recorded and mixed at 8(8)8 Studios, Buenos Aires, Argentina. January-March 2004" [label info & credits]	2006	€13.00
CRAY	InvalidObject Series (comment)	mCD	Das irische FÄLLT-Label hat auf einen Schlag ein Kompendium zur neuen digitalen laptop / click / glitch / IDM – Musik herausgebracht ! Das sind 24 mCDs mit allerlei bekannten und unbekannte Vertretern dieses jungen Genres. Wir haben die meisten da, hier eine Übersicht ! Limitiert jeweils auf schamlose 250 Stck ! Preis pro mcD : € 9.50 Better priced now, last copies of this absolute compendium of IDM. € 9.50 “ The invalidObject Series was established in 2000 as a sublabel of Fällt to release a finite series of twenty four 3"CD/.mp3 works. Offering a unique perspective on a diverse range of musical output at the turn of the millennium, the Series features work by some of the most respected artists operating within the field of '.microsound' and has been described as "a remarkable document of a vibrant artistic community and a critical moment in the evolution of digital music" (Philip Sherburne), "a showcase for the extraordinary range of practical approaches within contemporary electronic music" (Matt Ffytche, The Wire) and, simply, "impressive" (Rob Young, Editor, The Wire). “ [label press release}	2000	€9.50
CRISTAL	Re-Ups	LP	Das Trio mit dem von LABRADFORD bekannten BOBBY DONE existiert schon seit 2001 und liesse sich soundmässig am ehesten als Drone-basierte, atmosphärische Improvisation & Komposition mit feinen harmonischen und auch noisigen Ausflügen beschreiben. Sehr sorgfältig und Raum-schaffend bauen sie ihre Klangfigurationen auf, in denen subtile Mikrosounds platziert werden...das hat was von ruhigen ILLUSION OF SAFETY zum Beispiel, sie wurden aber auch schon als elektronische, LABRADFORD-getränkte Variante von SUNN O)) beschrieben, oder mit AUBE und DEATHPROD in Zusammenhang gebracht (was alles nicht so recht passt, aber als grobes Raster OK ist..) Dies ist das zweite Album nach der "Cristal" CD (2005), kommt in nummerierter Auflage & im Gatefold-Cover. Leider teuer. "Jimmy Anthony, Greg Darden & Bobby Donne (Labradford, Aix Em Klemm) play out infrequently , are unprolific in their release schedule & spend their time refining & recording their abstract electronic music. Their seclusion & deliberation produce remarkable results. Re-Ups is their second full length release. Cristal use computers to mutate & stretch sound spectra into long forms balanced against tenuous, implied melodies. The barely perceptible abuts the overwhelming. Placid soundfields are lacerated with incisions of digital fragments & static on the opening track. Sonic reductions boil & release evaporate melodies on the track “Xicifu” and then are decimated by the scouring noise of “Left of Swept”. All across Re-Ups, disorienting & comforting elements sit side by side. When so many noise & experimental artists seem to be hemorrhaging releases, Cristal’s compositional rigor is refreshing. ONE TIME PRESSING OF 500 on 180 gram vinyl in a gatefold jacket. Comes with digital download code." [label notes]	2008	€23.00
CROUCH, ROBERT	Sublunar	CD	"Robert Crouch is an artist and curator whose work encompasses sound, performance, and technology. As an artist, he locates his work with the intersection of post-phenomenological listening practices, conceptual sound art, and contemporary electronic music. At its core, his work can be understood as a conversation between tonality, context, history, and subjectivities. Similarly, Crouch's curatorial work focuses on the overlapping disciplines of sound, technology, movement, and performance. Sublunar continues Crouch's inquiry into the complex relationships between sound, context, and meaning, first proposed in his 2016 release, A Gradual Accumulation Of Ideas Becomes Truth. The four tracks which comprise Sublunar were composed using field recordings from and audio files originally created for mas gestos y mas caras, a collaborative performance with artists Rafa Esparza and Yann Novak. mas gestos y mas caras was a durational performance incorporating sound, breathing, and a series of repetitive actions and gestures, choreographed within an architectural installation of adobe bricks fabricated and designed by Esparza. Sonically, Sublunar is a radical departure from the originating performance, yet these tracks remain tethered, literally and aesthetically, to the processes and context of their construction: Esparza's labored breathing, cautious footsteps, a soft cascade of water, dust, soil. The title itself, Sublunar, reinforces an attachment to the Earth and the physical world, and intentionally resists metaphysical interpretation or decontextualization. It is precisely through this tethering that Crouch seeks to open up a diversity of possible approaches to the work, rather than confine our reading to a primarily or exclusively musical text. The first track, "Descension", opens with sounds of breathing, muted movements, and environmental noises, and serves as an acknowledgement of our collective understanding of sound, of these specific sounds, as physical phenomenon. By extension the listener is allowed to consider this particular organization of sound itself as a kind of sculpture, architecture, and choreography. The body becomes the primary oscillator and architect, delineating boundaries and defining the work as a space within which the listener might inhabit. Presented live in Los Angeles. Source material originally developed as part of mas gestos y mas caras, a collaborative performance with Rafa Esparza and Yann Novak, presented at the Hammer Museum on July 8, 2016."	2017	€10.00
CURD DUCA	Waves 3	LP + CD	Magazine announces the album Waves 3 by Curd Duca, the third and last part of the trilogy Waves: Austrian electronic composer Curd Duca is widely known for his 1990s series of critically acclaimed easy listening 1-5 (Normal) and elevator 1-3 (Mille Plateaux). After a long break from the studio, Duca has issued part 1 of the Waves series in late 2020 on Magazine WAVES 001LP. This was in fact his first album in 20 years. The Waves recordings pick up the thread of his '90s work and open up a new chapter. Again, everything is shifting constantly and all tracks are quite different (soft, rough, melodic, abstract...), but complement each other in a surprisingly coherent way to form an idiosyncratic universe. While other experimental artists can sound as if they're attempting to lift lead weights over their heads, Duca is content flicking feathers into their faces. After his impressive 1990s/00s run on Normal and Mille Plateaux, Curd Duca had disappeared for 20 years before emerging from the aether last year. The albums of the new Waves trilogy represent a flawless examination of sound and texture. The Vienna-based producer still straddles high and low culture, but approaches his sonics with a more historically aware ear. So plain and resonant gong recordings are placed next to pop music loops and DSP-fractured cut-ups, and icy electronic jams nudge up against cassette warped instrumental sketches. Waves 3 is a continuation and culmination of the series. In the final chapter, you're drawn in with church bells on dome, but quickly transported to another era entirely with the crackly bläser and absurd zither, a tongue-in-cheek plunderphonic experiment assembled from zither samples. Duca follows this evocative run of tracks with a machine-gun blast of experimental sound, from the percussive 500 GRM to the ferric ASMR birdsong of "ziegenmelker." This is Duca at his most uncompromising, grabbing central European culture and dragging it through his array of processes. Playing the album from beginning to end opens up a weightless cut-and-paste mixtape, stitched together with expert foresight and a knowing wink to camera. Like the best psychedelic experiences, memories are triggered and turned inside-out, and knowledge is allowed to blossom. Curd Duca has been refining his process for three decades now, and few artists have quite the same ability to challenge, provoke, and inspire.	2022	€22.50
CYESS AFXZS & SCATHING	Sunken Dimension	CD	Cyess Afxzs and Scathing both represent the newer wave of harsh noise, with prolific output in recent years, coming up with top notch releases one after another, and in a way I feel it was only a matter of time for this fruitful collaboration to happen. These artists have a musical ear for harsh noise. We've been hearing it in their works with compositional, cinematic qualities. Perhaps because they live on different continents, the idea of them working actually together had not occurred to me before, but when I first time heard about this collaboration, it clicked in my head immediately: of course! A match made in heaven. This CD is a full-on collaboration, and you can recognize both artists’ hand prints, but they’re still creating something new together. I've been told that when you think it sounds like Cyess Afxzs, it's probably Scathing, and vice versa. https://satatuhatta.bandcamp.com/album/sunken-dimension "This one, absolutely recommended if you feel noise album should be like... proper album. Not just one session of something. Despite it doesn't sound exactly like it, it makes me think of more playful 90's Merzbow stuff. Stuff that is noise, but ain't just all harsh, but somewhere in lineage of Dadarottenvator, Mercuriated, Rainbow Electronics and so on. Always lots of things going on, always lots of things coming, and listening album few times will not consume it. Just makes you want to re-play more, as there is a lot to be listened." [Freak Animal]	2023	€12.50
CZAJKOWSKA, INDIA & SEBASTIAN MADEJSKI	Tance Snu	CD	" ”Dances of the Dreams” (”Tańce Snu”) is a sonic journey through unexpected and undiscovered worlds of human imagination. This sonic journey is accompanied by the aura of oddity or mystery straight from the fairytale land. From a rich array of sounds, colours and surprising ideas, the artists extract haunting, subtle melodies. Here early music entwines with ambient, oriental melodies with experimental sounds, folky lightness corresponds with elements of neo-classical. The duo of India Czajkowska and Sebastian Madejski created a very suggestive album by means of early instruments (viola de gamba, psałterium) flute, piano, synthesizer, guitars and two unconventional voices; an album that is very hard to pigeon-hole. Having drawn inspiration from tradition, it brings a lot of freshness into seemingly fossilised structure. It is a surprisingly interesting, intriguing and delightful album for numerous listens. For fans of neoclassical/new folk sounds of Ataraxia, Jack or Jive, Rajna, Louisa John-Krol, Collection D'Arnell-Andrea." [label info] www.zoharum.com	2014	€12.00
D'INCISE	Rivages sur l'Antipode	LP	"Laurent Peter has produced and released electronic music under the d'incise moniker since 2002, from dub to electronica, gradually opening those styles to electroacoustic experimentations. With his projects Diatribes (an open formation with drummer Cyril Bondi) and Karst (quartet with Bondi, Luc Muller and Abstral Compost), he is also involved in free improvisation, for which he is using his laptop, live treatments and various contact miked objects. These projects have included musicians such as Barry Guy, Keith Row, Jason Kahn, Christian Weber, Norbert Moslang, Hernani Faustino, Joao Pedro Viegas, Tzii and many more. Finally, besides coordinating the insubordination netlabel, dedicated to improvised music, and being a member of the audiactiviste netlabel, Laurent Peter is also active as a graphic designer. Composed on a special request from ini.itu, “Rivages sur l'antipode” (shores on the opposite side of the earth) is his first vinyl LP and is based on similar archival material as the one used by Francisco López in his stunning “untitled #228”. Nonetheless, d'incise has achieved radically different results, combining digitally-processed textures, microsamples and humming harmonics rippling out over broken rhythms. He has collaged the least obvious bits of gamelan, many grainy soundbytes from Jakarta, Makassar, Bandung and Yogjakarta into a kaleidoscopic reinterpretation of these shattered fragments. Sudden transitions, alinear progressions and melancholic, sprawling, autumnal atmospheres reveal a very personal soundworld. This LP could evoke Kim Hiorthoy on sedatives under moist tropics, or an alter-ego of Burial in a futuristic decaying Jakarta won back by the jungle, with hints of digital crispiness from Kid606 période Mille Plateaux; a touch of the microsampling of Akufen, all of this marinated into the experiments in folk deterritorialisation made by some Ritornell artists such as Random_Inc / Sebastian Meissner. Icing on the cake, this LP was mastered by James Plotkin in Philadelphia. 250 copies, hand numbered. Some copies come with a serigraphy made by Laurent Peter himself." [label info] www.iniitu.net "On an entirely different nature is the album by Laurent Peter, finally we have a name for D'Incise from Switzerland, who received slighty similar sound material as Francisco Lopez did for his album for this label (see Vital Weekly 711), but Peter does something completely different with it. His main method is sampling the hell out of anything. It perhaps also reveals a bit more what Lopez used, as that was rather a mystery back then. Percussive sounds from Indonesia for instance, which D'Incise explores these for the lowest, grainy textures, chopped up to form new rhythms, cut from 'real' sound and the hiss between. Ini.itu compares this with some of the older and more experimental releases on Mille Plateaux/Ritornell, and I can see that. It shares that somewhat crude approach to sampling, the click 'n cut approach musicians like Random Inc and Kid606 had back then, but D'Incise never comes close to playing any 'dance' related music. The textures are sometimes pretty 'vague', shimmering perhaps, but I think that kind of adds nicely to the record. Its probably the best record by D'Incise I heard so far. The compositions are worked out better, and never seem to take more time than necessary. Very nice." [FdW/Vital Weekly]	2010	€12.50
	(aral)	CD	"Geneva based, very active and free electron of an exploratory music with diverse accents, d’incise (whose real name is Laurent Peter) keeps on eating up the miles away from arbitrary categorizations… As well as being a graphic designer, coordinating the Insubordinations label, and having collaborated with a host of artists (Cyril Bondi, Jason Kahn, Tomas Korber, Norbert Moslang, Jacques Demierre, Jonas Kocher, to name a few…), he’s also fond of sound installations, manipulations of objects, and improvisation, and tours actually quite a lot… Borrowing from musique concrète, electroacoustic music, drone, electronica, field recordings…, d’incise plays skilfully with acoustic sources, giving birth each time to powerful sound microcosms, catalysts of engulfing listening moments… Here, a flux of particles, an effervescent gush, like an elementary wave with countless appearances… (aral) sprays, letting curls and sulfurous steams slip in suspension… sizzling blanket with an irregular & intricate weft, granular quiverings in bareness, a sea that never dies/remains…always the same, ever differing… (aral) shakes the sediments inducing minuscule frictions, lashings… an immersion in the course of an hidden side into the muddled and the turbulent… Beyond the roughnesses, the pseudo-linear, looms then like an evidence, the emergency of another gaze…" [label info] www.mysterysea.net "From the slowly growing empire of Mystery Sea and Unfathomless this week a new release on the first label by our man from Switzerland, D'Incise, behind which we find Laurent Peter, who has perhaps a likewise growing empire of releases. Other than his musical talent, he is also a designer, working for the Insubordinations labels and as an improviser he played with Cyril Bondi, Jason Kahn, Thomas Korber, Norbert Moslang and others. Looking back on his previous releases, I think there is an upwards curve in terms of sound treatment, production and composition. He seems, but that's how I perceive things like this from the outside, more and more in control of his methods and creates some interesting computer music. No doubt there are a bunch of field recordings at the core of this, but none of them are easily be traced back to their origins. One should think sea sounds, sea shores and dunes, based on the crackles and sustaining sounds intertwining each other here. It works really well, and D'Incise uses the dynamic spectrum in an excellent way. Being very low end and very high end, and the whole forty some piece is clearly divided in various parts, each with its own character. Slow and peaceful but with some nasty undercurrent. Like the sea itself!" [FdW/Vital Weekly]	2013	€13.00
DÄLEK {DALEK]	Asphalt for Eden	LP	Conceived in New Jersey from its emerging DIY scene from the late ‘90s, cult hop-hop trio DÄLEK were known as pioneers over the last fifteen years or so of an intriguing sound which fused a blend of progressive hip-hop artistry supported by a rhythmic backdrop consisting of sonic experimentation through noise music and dark ambient (they would be dubbed by journalists as what would happen when you mix Public Enemy and My Bloody Valentine). Their singularity would be highlighted in four defining milestone full-length albums released on Ipecac Recordings (one of them being their “Absence” masterpiece LP from 2005), along with live actions where the band would support the likes of Tool and The Melvins, and even collaborate with the likes of artists such as Faust. In Spring 2015 mastermind MC Dälek (a.k.a. Will Brooks, with the blessing of ex-member/co-producer Oktopus) revived DÄLEK after a hiatus with a new lineup which now includes DJ rEk and Mike Swarmbots and are now preparing to release their new album “Asphalt For Eden” which will be the first official DÄLEK release since their last full-length, 2009’s “Gutter Tactics”. “Asphalt For Eden” sees a new creative peak for DÄLEK and will bring a new awareness for this cult hip-hop entity now resurrected once again and ready to show a formidable display of true hip hop artistry and experimentation through their new album and the plethora of touring the band have planned in support of it. A band which many see as one of the most genuine underground DIY hip hop iconoclasts. dalekipecac.bandcamp.com/album/asphalt-for-eden	2016	€27.00
DALLAS, VINCENT & MOOZZHEAD	Controlled Chaos & Sound	CD + MC box	Everyone who has been following noise scene in the past few years, are probably familiar with the names Vincent Dallas and Moozzhead as well as their prolific output of high quality harsh noise. So, what do you get when you combine these two artists on the top of their game? MORE HARSH NOISE of course! This is a collaboration, recorded live over few sessions in Belgium. Total harsh noise worship for lovers of full throttle sound havoc. 70 minutes of controlled chaos, split onto cd and cassette to show even slightest of mercy for listener. CD + C24 comes in a silkscreen printed cardboard box, with two sided insert and two stickers. https://satatuhatta.bandcamp.com/album/controlled-chaos-sound	2023	€18.00
DANIELL, DAVID & DOUGLAS MCCOMBS	Sycamore	LP	David Daniell and Douglas McCombs's first collaborative LP, Sycamore, was assembled from seven hours of in-studio improvisations. Daniell and McCombs sifted through the material looking for their favorite moments, then combined, cross faded, mixed, and matched those moments into something that made sense to them as a long player. For their new release, the double LP Versions, they gave the same seven hours of material to noted recording engineer and producer Ken Brown (ex-Tortoise), who was given free rein to assemble an LP of his choosing (subject to approval, of course). The results are fantastic. Brown has chosen to highlight moments in the music that the normally reserved Daniell and McCombs probably would not have chosen. There's a wider dynamic range on Versions, from brutally raw to delicate to practically inaudible. The other interesting aspect is that Brown's selections rarely cross over with the material on Sycamore--this is in no way a "remix," and that is exactly what Daniell and McCombs were hoping for. In addition, Versions includes a second LP of two live performances. These were chosen to show how Daniell and McCombs's music develops in a live setting. Improvising in a recording studio and improvising in front of an audience are two vastly different things. Montreal and Knoxville were two of Daniell and McCombs's favorite performances from their tours together. Over the years Daniell has collaborated with many notable musicians, including Loren Connors, Rhys Chatham, Tim Barnes, Jeph Jerman, Thurston Moore, Greg Davis, and Jonathan Kane, as well as releasing numerous albums under his own name and with his band San Agustin on labels such as Table of the Elements and Family Vineyard. McCombs is more often seen wielding a bass guitar, whether as a member of Eleventh Dream Day, the acoustic collective Pullman, or the pioneering and inimitable Tortoise; in his role as the driving force behind Brokeback; or through his varied work with the likes of Tom Ze, Azita Youseffi, Will Oldham, Yo La Tengo, and Calexico. www.thrilljockey.com/artists/david-daniell-and-douglas-mccombs https://daviddaniellanddouglasmccombs.bandcamp.com/album/sycamore	2009	€20.00
DAO + COH	Dzerzhinsk-9	LP	"Tourette Records is proud to announce the release of DZERZHINSK-9 by DAO+COH (Andrej Kolesov and Ivan Pavlov). Originally recorded in 1996, this collection of previously unreleased material showcases COH's trademark audio experimentation, and the collaborative spark shared by both artists. DZERZHINSK-9 represents some of the earliest work by this duo, and pre-dates Pavlov's first solo release on raster-noton.de by 2 years. This potent collection of intense and dark experimental material is a result of a live-in-the-studio improvised session recorded during one of Ivan's visits to DAO studio in Dzerzhinsk, Russia. Performed with hand-made digital and analogue equipment, and recorded onto a 4-track cassette deck, this is a gem of curiosity to anyone with interest for COH and electronic music in general. Russian-born Ivan Pavlov is well known for his solo work as COH spanning more than 20 releases, including collaborative projects with the likes of Coil and Cosey Fanni Tutti. He currently works with Peter Christopherson (Throbbing Gristle, Coil) in SOISONG. Ivan's university friend, Andrej Kolesov (aka DAO), is a musician who has previously contributed to the album COH: STRINGS (2007), playing saz and oud. A new joint work by Andrej and Ivan is currently in the works." [label info] "... DAO + CoH uses bass, guitars and custom ZX Spectrum and the results are pretty damn awesome. The beats are really energizing while the bass comes through like Jack Dangers in fine form. There is a distinct 90‘s flavour and yet it retains a freshness. ‘Propharadeia’ is a really driving track that makes me shake my body from finger to toe. ‘Oka’ is dark and sinister coming through like an Autechre/Muslimgauze hybrid, seething with eastern paranoia. ‘Sung In Sand' continues the eastern flavour with its building intricate yet subtle percussion and swooping synths. Out on Tourette records. Great stuff!" [Ant / Norman Records]	2009	€10.00
DAS AUDIOVISUELLE KOLLEKTIV	Verwandlung	CD-R	"This live performance from the ‘Elektromagnetischer Sommer’ 2011 festival in Zurich features prepared guitar player Gerhard Zander and ‘musicien concrète’ EMERGE, on samplers and contact microphones, both interacting with the visual cues from Eazy’s live processing of abstract images on the theme of metamorphosis (‘Verwandlung’), an extract of which can be seen in the sleeve art. The 45-minute set is dominated by gently droning ambient textures and looped chords in unhurried pulses while a constant interplay with metallic, rather high-pitched samples originating from guitar and electric bass, but sometimes more reminiscent of saxophones, manages to sustain interest throughout. Formed in 2010 by audio and video artists from Augsburg and Zurich, ‘The Audiovisual Collective’ has since developed towards an ever closer integration of the sounds that are used to communicate a sonic counterpart to the images projected during their performances. With lots of reverb and effects used on the prepared electric guitar, which is frequently played with an e-bow, thus losing its typical ‘plucked’ character, its texture often resembles the droning quality of the time-stretched samples. In turn, EMERGE adds live signals to his mix of samples, picked up through contact microphones and subjected to various forms of live processing. Its idiosyncratic mix of what could be described, depending on the listener’s preference, as aqueous 1960s sci-fi movie sounds or vintage Pierre Henry with mandala-like tranquillity, plus the occasional exhilarating outburst of semi-noisy hyperactivity towards the end, maintains harmonic structures throughout and thus makes for an accessible introduction to the world of free electroacoustic improvisation that still contains lots of interesting details for experts in that field." [label info] www.wix.com/attenuationcircuit/attenuation-circuit	2011	€8.00
DAS SYNTHETISCHE MISCHGEWEBE	Gleis3eck / Görlitzer Tunnel	do-CDR	"The long-running (22 years and counting) German-spawned outfit Das Synthetische Mischgewebe (The Synthetic Mixture of Fabrics in English) has a long history of site-specific performances and recordings, two of which are documented on the two CDs comprising this release. Recorded around the time the group departed from Germany for Barcelona and then France, it’s fitting that both of the sites here represented no longer exist. In 1986 and 1987, Berlin was still a victim of the Wall, and deserted spaces were seemingly easy to come by. One such was the Gleisdreieck, a railway junction where DSM set up their electronic and acoustic instruments for an extended recording, of which some 85 minutes are hereby presented. The second location, of which 46 minutes is included, was the Gorlitzer Tunnel, a pedestrian underpass several hundred meters long under Kreuzberg. It would be of no avail to try to determine exactly what instruments, items and gadgets were used to make the sounds heard in these recordings – and that mystery suits these CDs well. It’s useful to recall that this was around the same time as Einstürzende Neubauten, also in Berlin, were releasing Halber Mensch and Funf Auf Der Nach Obenen Richterskala, their strongest statements. Berlin at that time (beautifully documented in the Berlin Super 80 DVD/book package) had more than its share of experimental artists, and DSM’s sounds were emitted from the least-accessible cracks in the city’s pavement. From quiet rumblings, these performances grow via distorted hissings, squawks, clanks and grindings into a soundscape akin to a futuristic factory stamping out robots. Metal is scraped, mechanical contraptions buzz and squeak, feedback squeals and vibrations summon deep groans. The second track on disc 2, the Gorlitzer tunnel set, is on the whole a quieter, more eerie evocation of the location’s deep reverberations, with what may be a generator rumbling quietly in the background. The occasional vocal interjections, echoing in the tunnel, are unexpected and deeply strange in the context of the overall darkly mysterious sounds. Limited to 200 copies, the two CDs come packaged DVD-style with a beautifully-printed insert of text and photos on translucent paper. The liner notes by member Guido Huebner nicely describe the place and time. These recordings are marvelously evocative: of lost places, of a time and location that was certainly unique, of a group’s early works from 20 years ago, and of surreal, often intimidating imaginary places summoned by the mysterious equipment. One would hope that many more than 200 people would want to investigate these places." [Mason Jones / Dusted Magazine] "These days it's probably no longer known, but Das Synthetische Mischgewebe was a band, and not the project of G.do Hübner, which it is since some time. Before people like Yref, Chazev, T.O.W. Richter, Isabelle Chemin and Jean Rene Lasalle were member at one point or another. The recordings on this double pack are in more than one way historical. They are old, twenty years to be precise, but they were also made in the then divided Berlin, in a place you can't find anymore. Das Synthetische Mischgewebe used an old tunnel and a subway station going from East to West Berlin to rehearse for concerts that were later held. Abandoned industrial areas, in which they could easily find material to play their music on. Everything you hear on this double pack is recorded on the spot, using what ever is available there. Industrial tools, scraping metals, obscure objects which we can't visualize and such like. But they are played like musical objects and rather than trying out what the sound possibilities are, the actors in Das Synthetische Mischgewebe want to play a piece of music with those objects, so they carefully move about and create pieces of improvised music with these objects. Battery run amplifiers and a walkman to record the whole thing onto give this a slightly rough edge, although I must say that the sound quality is more than excellent. Cut into sessions of thirty minutes, this can't be engaging to hear from beginning to end without leaping into a moment of boredom, but throughout I thought this was a very fine release. Not loud or heavy industrial as some of the early work was (or perhaps that's just a wrong memory? Apparently Vinyl On Demand is releasing some LPs with older work), but rather pre-dates a lot of the onkyo type improvisation of the last few years and a very fine work of electro-acoustic music. Topped off with a nice presentation and a most enjoyable set of personal liner notes. Great archival release." [FdW / Vital Weekly]	2006	€18.00
	Neunundvierzig Entgleisungen	do-10	"....What you hear on this pack is four delirious sides of hermetically-sealed confusion, playing havoc with your acoustical preconceptions and expectations until you won’t know which way is up. Noise, glitches, murmurs and clicks are abstracted by careful processing, and apparently edited together into microscopic mosaic patterns to stimulate your perceptual receptors in ways you’d never have thought possible. Jean René Lasalle contributes profuse printed texts inside the cover, which are likewise streams of cut-up absurdist poetry containing such deathless observations as “glances irrigates elytrons in a trembling headlight”. Françoise Vigot did the cover paintings, featuring the domestic (and amorous) adventures of the red and blue cipher-like figures whose antics I have seen, I think, on a Hypnagogia release by DSM. Verily, Huebner’s universe is an elaborate many-layered puzzle which is slowly coming together for this listener." [The Sound Projector] "aufabwegen is very proud to offer a new release by what we consider to be one of germany's most important sound projects: DAS SYNTHETISCHE MISCHGEWEBE. DSM is now the sole project of guido huebner, who has been working in the medium of sound and found objects since the early 1980ies. DSM have their very own take on the patialization of sound and the moving around of sonic objects in the stero field. the overall impression is of rawness and fragility at the same time. the music on these two 10" records is super-dynamic and fragmentated and sounds very fresh and alive. DAS have collaborated over the years with artists such as Michael Northam, Frans de Waard, New Blockaders, MSBR and many more and have released material on various labels around the globe. DSM have played many concerts all over and have combined their sound with different art froms, such as projections, film, dance and even conducting workshops fro kids. "neunundvierzig entgleisungen" comes in a full cover fold sleeve and is slipped in a stable plastic seethrough. it plays on 45rpm, even if the label prints instructs you to run it at 33. the record was recorded by guido huebner and features texts by jean rene lasalle and artwork (paintings reproduced) by francoise vigot. it was layouted by stefan hanser (anemone tube), mastered by josef suchy and cut by lupo at dubplates & mastering." [label info] www.aufabwegen.com	2008	€18.50
DB/MZ (dB/Mz)	The Light to come	CD	"dB/Mz is Magnus Zetterberg (aka Manifesto) and David Bengtsson (aka IOK-1) is more than just a collaboration between two artists is the sum that is more than just the whole of its parts dB/Mz is seduction is contemplation is gritty yet accessible is light and darkness entwined is the pulse of a heart that stops beating is Lustmord, Deathprod and Thomas Köner combined dB/Mz is what you should hear if you’re into moody contemporary electronic ambient music with a dark twist -- CD in a 6-panel ekopack Limited to 300 copies Music by Magnus Zetterberg & David Bengtsson Artwork by Emmi Herterich Sleeve design by Silken Tofu manifestodarkelectronics.com iok-1.bandcamp.com" [label info] www.silkentofu.org	2015	€12.00
DBMG/RAF (DIE BAADER-MEINHOF GRUPPE / RED ARMY FACTION)	same	CD	Radikaler Elektro / Noise / Rhythmic Industrial aus Kanada mit starker politischer, antikapitalistischer Ausrichtung (das RAF-Logo auf dem Cover), dabei musikalisch abwechslungsreich & überzeugend arrangiert, teils fast rockig-tanzbar, teils extrem krachig! "Die Baader-Meinhof Gruppe / Red Army Faction is Joshua David Richardson with a revolving door of collaborators, which include: Scott E. Farmer (Russian Futurists), Sam Devos (For Greater Good), and Edwin Vanvinckenroye (Tribe) amongst others. According to Richardson, DBMG/RAF is a chance for musicians and multi-media artists to explore the use of violence within their chosen medium for the expressed purpose of destroying the economic, social, and artistic structures imposed on them by Late 20th and 21st Century Capitalism. It is inspired by the actions of West-Germany’s Red Army Faction (also known as the Baader-Meinhof Group), which sought the violent overthrow of West-Germany’s post-war governments from the 1970’s until its official disbandment in 1998. Politics aside, this is one freshing new release that actually lives up to being true INDUSTRIAL music. It is noisy, chaotic, harsh, violent, full of anguish and torment while still carrying a strong beat. This is the kind of industrial that will immediate clear the dancefloor at your local goff-idustrial club, will sort out the real rivetheads from the poseurs, and have noise music enthusiasts begging for more. There’s a good amount of variety on this CD too- a post-punk “Peter Gunn” inspired rhythm track with whacked out old school analogue electronics, middle-eastern Indian ambience with the sound of war in the background (perfect for planning your next Jihad), Deutsch Nepal and Memorandum inspired beats with radio transmissions in the background, slabs of whale-toned cries from the deep, broken and distorted sonics over a militant backbeat with appropriately painful processed vocals, wacky distorted rhythmic melodies, and much more. It is experimental without being unlistenable. Alienating while still being engaging. Even when Richardson is using those overly-familiar sounds and elements, they never seem dated or clichéd. When it comes to this kind of music, this guy obviously seems to know what he’s doing and doesn’t wear his influences on his sleeve like so many others who’ve attempted it. If I had one thing to nit-pick about, it might be the use of overuse of spoken word samples, which is a pet peeve of mine in any music genre. Purists can argue as to its appropriateness, but I feel that a constant barrage of it is a bit clichéd. Thankfully, Richard tempers it with other interesting elements. This release has an awful lot going for it and has so much variety that it has a very high replayability factor, something that I haven’t heard in a good number of harsh music projects that I’ve reviewed positively. It is also not a constant torrent of torturous sounds; there are quite a few quieter moody moments. Nothing is overly-long or intolerable. If this was released on CMI, it might be the album of the year in Europe. Red Army Faction is like having the best moments of bands like Mental Destruction, In Slaughter Natives, Esplendor Geometric and Brighter Death Now rolled into one steaming package. Perhaps it’s due to the duality of the name Die Baader-Meinhof Gruppe / Red Army Faction and its association that makes this music project totally oblique in a Google search. If you want this music, you REALLY have to know where to look. You can find it on iTunes (Die Baader-Meinhof) or CD Baby (http://cdbaby.com/cd/baadermeinhof) but I’d recommend just going directly to the website since there videos, more info and purchase options there. Definitely recommended!" [Steve Mecca / CHAIN D.L.K.] www.dbmg-raf.com	2009	€13.50
DE WAARD, FRANS	America’s Greatest Noise	BOOK	The next book on Korm Plastics contains no photographs of the artists, no list of released records, no pictures of record sleeves, and no footnotes. It is not a hardcover, not on glossy paper and is not expensive. It’s… ‘America’s Greatest Noise’ tells the story of Ron Lessard, owner of RRRecords, a record store in Lowell, Massachusetts and, from 1986 to 2009, a record label, releasing the albums of Blackhouse, F/i, PGR, the first Merzbow LP outside Japan and many more, regional compilations, three widely acclaimed lock groove records and a series of anti-records, records with no music but a more conceptual and visual edge. RRRecords is also responsible for the RRRecycled Music series, which has over 300 releases on re-purposed cassettes. Ron Lessard played music with his group Due Process and solo as Emil Beaulieau. Up until his retirement from the noise scene in 2006, he played many concerts and released a string of cassettes, LPs, and CDs. During his concerts, Lessard dressed up like a businessman and used a four-armed turntable, dubbed the Minutoli, and his performances were comical. In this book, he tells for the first time his story in music about the highs and lows of running a label and a record store, weird projects, unfinished projects, encounters with other musicians, being on the road, and much more. Also included are two appendices: one with interviews from the past (fanzines and websites) and a chapter from Michael Tau’s ‘Extreme Music’ about the anti-records released by RRRecords. Images used were sourced from flyers, invitations and fanzines. Introduction by Dominick Fernow (Prurient, Hospital Productions) The first 1000 copies come with an anti-flexi, cutting up a conversation about anti-records between Ron Lessard and the author of the book, Frans de Waard. Cut up by Howard Stelzer. You may use this flexi as a bookmark. Paperback book, 144 pages, black and white images. Design by Alfred Boland Ships after July 1st; official release date: July 5th (if you know, you know) Softcover, 17×24 cm, 144 pages https://www.kormplastics.nl/americas-greatest-noise/	2024	€15.00
DE WAARD, FRANS / MARTIJN COMES	Various Weights	CD	"Various Weights is the first time the duo of Frans de Waard and Martijn Comes come together to present work. On this album, their uniques styles are combined, where they work with each others sound materials to create truly unique compositions. Various Weights In sound art, concepts often take precedence over the actual music. Here, there were none. For their first collaboration, Frans de Waard and Martijn Comes decided on a strikingly simple approach: Each artist compiled a pool of sounds for the other to use as a point of departure. Comes worked with various analog synth- and field recordings by de Waard (including, among others, a Korg MS20 and Koma Field FX). The latter was sent a processed stylophone recording, a sample loop as well as recordings of the Web’s first Software-Defined Radio by the University of Twente. The results, now released as Various Weights, are two epic and immersive pieces. On “Boundary of Intersections”, Comes focuses on deep sonorities and harmonics, developing his materials into a mind-expanding drone zone. De Waard’s “There are no two pianos” is more subdued, hovering mysteriously at the cusp of acousmatic research and sonic minimalism. Both pieces share a slightly uneasy, surreal feeling – perfectly captured by Bas Mantel’s artwork, which was a direct response to the sounds contained on the disc. The bonus-CD to this release, limited to 50 copies, contains a full 35-minute performance by both artists at De Ruimte Amsterdam after the project had been completed. Magically, the music appears to be a direct continuation of the album tracks. As such, Various Weights ingeniously juxtaposes live- and studio techniques, solo and duo work, spontaneous improvisation and meticulous composition. That, whether the artists intended it that way or not, probably makes it a concept album after all." Tobias Fischer, March 2020 https://www.movingfurniturerecords.com/frans-de-waard-martijn-comes-various-weights/	2020	€12.00
DEAD CAN DANCE	Dionysus	CD	"This second release from the recently reawakened Dead Can Dance is quite a delightful surprise, radically departing from its uneven predecessor and displaying a striking degree of creative reinvigoration. Rather than another stab at recreating classic DCD fare like Aion, Dionysus is a conceptually rich and structurally inventive plunge deep into the folklore and spirit of Dionysian rituals and festivals. An intriguing concept does not necessarily lead to an intriguing album, of course, but Dionysus finds Dead Can Dance at the peak of their instrumental powers, unfolding as feast of wonderfully vibrant rhythms, esoteric instrumentation, and inspired arrangements. It is quite a remarkable and improbable achievement, as it sounds very little like prime Dead Can Dance, yet absolutely feels like prime Dead Can Dance. If Dionysus had come out in the band’s golden age of the late '80s and early '90s, there would most certainly be a small but devoted contingent of fans that viewed it as dark horse contender for the duo's finest album. If I am being completely honest, I truly did not expect Dead Can Dance to ever record another great album, as the feeling I got from the reunion tour and Anastasis was that Brendan Perry and Lisa Gerrard are now far more like two loosely entwined solo artists who periodically collaborate than they are a united creative force these days. For the most part, Dionysus does little to dispel that sense, but it definitely seems like the duo have found a way to flourish within those conditions. Based on all that I have read about this album, it is quite clear that Perry was the album's driving force and that it was a labor of love birthed from a deep fascination with how pagan/Dionysian beliefs have spread, transformed, lingered, and evolved in the wake of the Roman Empire. Perry was originally drawn to the theme by European spring and harvest festivals, but the reach of the album seamlessly dissolves boundaries in culture, time, and space like only Dead Can Dance can do. For example, Perry's field recordings alone touch upon South America, New Zealand, and Switzerland and his musical inspirations are even more widespread, delving into traditional instrumentation that spans just about the entire globe. While there some wonderfully exotic and otherworldly sounds occasionally appear, such as the eerily flute-like see-sawing tones and jungle-like chirps in the closing "Psychopomp," that unusual instrumentation is less of a focus than it is a set of specialized tools that Perry used to get exactly the feel he wanted. In fact, Dionysus is largely a very percussion-driven affair, an approach that is especially effective on the muscular and propulsively off-kilter opener "Sea Borne," which abstractly evokes Dionysus's mythical arrival from The East. While the album's bookends are both quite strong and easy to identify, the delineation between individual pieces on Dionysus is quite a purposely blurry one, as the album is structured as a two-part oratorio with different movements that tie to different aspects of Dionysian myth and folklore. For example, "Dance of the Bacchantes" is inspired by a rite in which women "abandoned their domestic duties for trance-like processions and dances," while "Liberator of Minds" celebrates hallucinogens and "The Forest" is a "call to abandon worldly and material pursuits and return to a primeval enlightened state of being." Happily, Perry opted to keep the narrative arc an abstract and impressionistic one, so this concept album deftly eludes the perils of dubious lyrical content or exposition. Curiously, it does sound like Perry is singing actual words in some language in the two closing movements, but the language is a fictional one, as Perry wanted to "convey emotion beyond the boundaries of language itself." In lesser hands, such a conceit would likely end in disaster. In this case, however, it not only flows seamlessly but seems like a crucial part of establishing the timeless and ritualistic headspace that the album inhabits. Recognizable words would have killed the spell. The music is not quite as liberated from the constraints of existing culture, however, as Perry is quite fond of Middle Eastern scales and melodies. The overall feeling is not entirely Middle Eastern though, as some medieval-sounding touches certainly bleed in, as do some sounds that seem plucked from real or imaginary tribes hidden deep in the heart of a tropical rainforest. At Dionysus's best, all of those threads combine into something that resembles an alternately raucous, sensuous, and ritualistic village dance that pulses with visceral rhythms, call-and-response chants, and primal eruptions of ululating yelps. Admittedly, tt feels a bit weird to love a Dead Can Dance album in which Lisa Gerrard plays a noticeably reduced role, as she only takes over lead vocals on "The Invocation" (I think). However, her voice continually surfaces throughout the album as an added choral layer or to echo or harmonize with Perry's own vocals. That might not sound like much, yet her essence pervades the proceedings in a deeper way, as Dionysus bears little resemblance to Perry's solo work. This simply is not a vocal-centric album in the traditional Dead Can Dance sense, nor does the mood quite suit Gerrard's hammered dulcimer talents and the duo have the good sense not to awkwardly shoehorn in touches that do not belong. In fact, Perry and Gerrard show an almost supernatural instinct for avoiding false notes or missteps, favorably calling to mind a time in the distant past (The Serpent's Egg) when they seemed like an absolutely infallible force of nature and each new album felt like a communion with something deeper and more meaningful than anything the present era offered. There is not a weak moment to be found here, as my sole caveat is that the album feels all too brief at a mere 35 minutes. None of that time is squandered at all though, so it is hard to grumble: if the perfect arc is just over half an hour, then that is the proper length for the album to be. I had hoped that Perry and Gerrard might have some more classic songs or a return to form lurking in their shared future, but Dionysus has easily transcended those modest expectations by feeling like the beginning of an extremely promising second act to their long and illustrious career. Nostalgia and welcome familiarity are great, but reclaiming relevance and forging into compelling and unique new territory is far better." [Anthony D'Amico]	2018	€16.00
	Dionysus	LP	"This second release from the recently reawakened Dead Can Dance is quite a delightful surprise, radically departing from its uneven predecessor and displaying a striking degree of creative reinvigoration. Rather than another stab at recreating classic DCD fare like Aion, Dionysus is a conceptually rich and structurally inventive plunge deep into the folklore and spirit of Dionysian rituals and festivals. An intriguing concept does not necessarily lead to an intriguing album, of course, but Dionysus finds Dead Can Dance at the peak of their instrumental powers, unfolding as feast of wonderfully vibrant rhythms, esoteric instrumentation, and inspired arrangements. It is quite a remarkable and improbable achievement, as it sounds very little like prime Dead Can Dance, yet absolutely feels like prime Dead Can Dance. If Dionysus had come out in the band’s golden age of the late '80s and early '90s, there would most certainly be a small but devoted contingent of fans that viewed it as dark horse contender for the duo's finest album. If I am being completely honest, I truly did not expect Dead Can Dance to ever record another great album, as the feeling I got from the reunion tour and Anastasis was that Brendan Perry and Lisa Gerrard are now far more like two loosely entwined solo artists who periodically collaborate than they are a united creative force these days. For the most part, Dionysus does little to dispel that sense, but it definitely seems like the duo have found a way to flourish within those conditions. Based on all that I have read about this album, it is quite clear that Perry was the album's driving force and that it was a labor of love birthed from a deep fascination with how pagan/Dionysian beliefs have spread, transformed, lingered, and evolved in the wake of the Roman Empire. Perry was originally drawn to the theme by European spring and harvest festivals, but the reach of the album seamlessly dissolves boundaries in culture, time, and space like only Dead Can Dance can do. For example, Perry's field recordings alone touch upon South America, New Zealand, and Switzerland and his musical inspirations are even more widespread, delving into traditional instrumentation that spans just about the entire globe. While there some wonderfully exotic and otherworldly sounds occasionally appear, such as the eerily flute-like see-sawing tones and jungle-like chirps in the closing "Psychopomp," that unusual instrumentation is less of a focus than it is a set of specialized tools that Perry used to get exactly the feel he wanted. In fact, Dionysus is largely a very percussion-driven affair, an approach that is especially effective on the muscular and propulsively off-kilter opener "Sea Borne," which abstractly evokes Dionysus's mythical arrival from The East. While the album's bookends are both quite strong and easy to identify, the delineation between individual pieces on Dionysus is quite a purposely blurry one, as the album is structured as a two-part oratorio with different movements that tie to different aspects of Dionysian myth and folklore. For example, "Dance of the Bacchantes" is inspired by a rite in which women "abandoned their domestic duties for trance-like processions and dances," while "Liberator of Minds" celebrates hallucinogens and "The Forest" is a "call to abandon worldly and material pursuits and return to a primeval enlightened state of being." Happily, Perry opted to keep the narrative arc an abstract and impressionistic one, so this concept album deftly eludes the perils of dubious lyrical content or exposition. Curiously, it does sound like Perry is singing actual words in some language in the two closing movements, but the language is a fictional one, as Perry wanted to "convey emotion beyond the boundaries of language itself." In lesser hands, such a conceit would likely end in disaster. In this case, however, it not only flows seamlessly but seems like a crucial part of establishing the timeless and ritualistic headspace that the album inhabits. Recognizable words would have killed the spell. The music is not quite as liberated from the constraints of existing culture, however, as Perry is quite fond of Middle Eastern scales and melodies. The overall feeling is not entirely Middle Eastern though, as some medieval-sounding touches certainly bleed in, as do some sounds that seem plucked from real or imaginary tribes hidden deep in the heart of a tropical rainforest. At Dionysus's best, all of those threads combine into something that resembles an alternately raucous, sensuous, and ritualistic village dance that pulses with visceral rhythms, call-and-response chants, and primal eruptions of ululating yelps. Admittedly, tt feels a bit weird to love a Dead Can Dance album in which Lisa Gerrard plays a noticeably reduced role, as she only takes over lead vocals on "The Invocation" (I think). However, her voice continually surfaces throughout the album as an added choral layer or to echo or harmonize with Perry's own vocals. That might not sound like much, yet her essence pervades the proceedings in a deeper way, as Dionysus bears little resemblance to Perry's solo work. This simply is not a vocal-centric album in the traditional Dead Can Dance sense, nor does the mood quite suit Gerrard's hammered dulcimer talents and the duo have the good sense not to awkwardly shoehorn in touches that do not belong. In fact, Perry and Gerrard show an almost supernatural instinct for avoiding false notes or missteps, favorably calling to mind a time in the distant past (The Serpent's Egg) when they seemed like an absolutely infallible force of nature and each new album felt like a communion with something deeper and more meaningful than anything the present era offered. There is not a weak moment to be found here, as my sole caveat is that the album feels all too brief at a mere 35 minutes. None of that time is squandered at all though, so it is hard to grumble: if the perfect arc is just over half an hour, then that is the proper length for the album to be. I had hoped that Perry and Gerrard might have some more classic songs or a return to form lurking in their shared future, but Dionysus has easily transcended those modest expectations by feeling like the beginning of an extremely promising second act to their long and illustrious career. Nostalgia and welcome familiarity are great, but reclaiming relevance and forging into compelling and unique new territory is far better." [Anthony D'Amico]	2018	€28.00
DEAD MAURIACS, THE	Beaute des Mirages	LP	Mysterious French outfit return to Discrepant in full exotic wind force after their sell out cassette, Un Cocktail pour la fin des temps''. Beauté des Mirages picks up on the same themes of frantic, abstract exotica and concrete cocktails the French act is known for. Running for two long 18min sides full of fake(?) vintage atmospheres and armchair jungle hallucinations. An abstract journey into a beautiful (and sometimes scary) world of mirages. All perfectly illustrated by yet another mesmerizing artwork collage by US artists Evan Crankshaw. The Dead Mauriacs : computer, files, fields recordings, cassettes, text, piano, midi keyboard. LP released by Discrepant. 2017. CREP 043 An abstract journey into a beautiful (and sometimes scary) world of mirages. Perfectly illustrated by yet another mesmerizing artwork collage by US artists Evan Crankshaw thedeadmauriacs.bandcamp.com/album/beaut-des-mirages	2017	€19.00
DEADVERSE MASSIVE	Son of Concrete	pic-LP	Starke 4-track long-play EP einer Art Supergroup des US-amerikanischen Experimental-Dub & Hip-Hop Undergrounds, mit erstaunlichem Ergebnis zwischen melancholischer slow-Dub Ambience und frei flottierenden Experimenten, viel vokales Material & halluzinogene Atmo...und auch ruhig-harmonische parts tauchen auf. Leute von DÄLEK, DESTRUCTO SWARMBOTS, ODDATEE sind beteiligt. Erschien auf dem wahrhaft grenzüberschreitendem Label PUBLIC GUILT aus Baltimore, MD. "The Deadverse Massive 12" picture disc brings together three intense forces in music-- avant hip-hop unit, Dälek, ambient guitarist, Destructo Swarmbots and hip-hop madman, Oddateee. Spontaneity, open-mindedness to the recording process and a collective cohesiveness sprung forth an album that none of them would have every created alone and none of them would have imagined before the moment of creation. Easily, the strangest record any of these artists have ever touched. Artwork from the amazing Paul Romano rounds out the release." [label info] "When hip-hop gets weird, it gets "Deadverse Massive". Mescaline dreams from the deep unconscious rise through psych-ambient guitar drones to meet street socially-conscious poetry and spoken-word in a no less than stellar collision... 8/10 "[Foxy Digitalis] "A stunning mashup of heavy beatscapes, surrealist avant hip hop, and spacey drones from beyond the wall of sleep... a surreal and drifting collage of beats and psychedelic drones, powerful rhymes and voice transmissions, as informed by classic krautrock and cassette experiments as it is by actual hip hop." [Crucial Blast] www.publicguilt.com	2007	€15.00
DEISON / MATTEO UGGERI	In the other House	LP	"Final Muzik label presents a new limited edition release: it's a collaboration work by our label's backbone DEISON and Italian musician MATTEO UGGERI. It has been co-released with Old Bicycle Records and Oak Editions + the artists (through their own labels Loud! and Grey Sparkle). "It was not born as a concept album, but as it was slowly becoming like the music inside it the sound work of Cristiano Deison and Matteo Uggeri ended up finding itself, step by step, enclosed between the narrow walls of an exceptional home. Arriving there from different places and positions, and never actually meeting, Friulian and Milan found themselves, perhaps inspite of themselves, together in uncomfortable rooms which were populated by dark invisible presences. It is not the scenario of a horror movie, there is no tragedy or fear, just the knowledge that somewhere else or the escape itself may be less reassuring than one has hoped. Therefore Francesca Mele's photos, both a seal of the workand source of inspiration for the music seem to further cloak the place in that sense of quiet desperation that daily life often implies." Limited edition of 300 copies." [label info] www.finalmuzik.com	2015	€15.00
DEISON & LASSE MARHAUG	33 Minutes of your Life	maxi-CD	"It's a 5-tracks cdr co-written by these two experimental sound artists between Italy and Norway. This new material contains fragments of digital noise, ambient textures, patters of notes which describe very delicate and dense soundscapes. This mini-album reflects an intense aesthetic quality. An impressive release...and it's just 33 minutes of your life." https://deison.bandcamp.com/album/deison-lasse-marhaug-33-minutes-of-your-life	2003	€8.00
DEISON + GIANLUCA FAVARON	Nearly Invisible	CD	"Cristiano Deison and Gianluca Favaron met in 2011 when the latter was a guest on Deison's "Night Sessions" album on Silentes. Both involved in many projects and music collaborations - Favaron with Lasik Surgery, Maribor, Zbeen and Under The Snow, and Deison with Mingle, Matteo Uggeri and Maurizio Bianchi - during the summer of 2015, at last free from previous engagements, they finally decide to mix their sound attitudes and give life to "Nearly Invisible", an album where they process concrete sounds, field-recordings, digital impulses and analog tapes. A sort of "rational improvisation" where the two artists have a conversation talking through the sounds of their surrounding realities. A slow overlapping of contaminated drones, embedded with manipulated noises describes "nearly invisible" environments visually captured by the companion pictures taken by Stefano Gentile. Rough images, textured, dirty; details that open windows onto landscapes where you can recognize panoramas, shadows and structures. All of this is presented in a high quality package, also available as a limited "art edition". DEISON Deison is involved in the experimental electronic area since more than 20 years (he played in Meathead during '90s) and he approached the world of sounds doing his own tape collages with tape recorders, turntables and objects mainly in the field of experimental noise; he runs a small label (Loud!) and collaborates with artist like Lasse Marhaug, KK Null, Teho Teardo, Thurston Moore, Scanner, etc... Influenced by the experimental music, ambient minimal electronic as well as a great interest into digital music and sound design, he operates with loops, field-recordings and drones to develop swirling electronic sounds of enormous range and complex musicality. Waves of looping deep ambient scapes, penetrated with sample fragments and light additional noise-ambient textures form Deison’s silent, minimal frame-set. His records have been released on various labels in Japan, Usa, UK, Italy and Germany. Latest collaborations include works with Maurizio Bianchi, Uggeri and Mingle. Gianluca FAVARON An electroacoustic musician, his work focuses on the processing of concrete sounds using software made on purpose. Field-recordings, drones: an approach that uses different music languages, to elaborate, merge or transform the sounds made by everyday objects into something different, both taking them out of context and/or processing and modifying them with various effects. He currently collaborates with Corrado Altieri in the "Altieri \| Favaron" project and with Stefano Gentile (Silentes) as "Under the Snow". In 2015 he has released the CD albums "Entretien" on 13/Silentes and "Forget About Any Non-Gray" on MFU /Concrete; the Ab'SHE / Uncodified (Corrado Altieri) split album "Applied Misinformation for People Control" was also released by Naked Lunch Records. "Nearly Invisible" is released in two different editions: - a standard edition of 230 copies (CD + Book); - a limited "art" edition of 13 copies housed in a 12" gatefold handpainted cover that also include one original photo (size 26x26 cm) + CD + Book" [label info] 13.silentes.it	2015	€12.00
DELPLANQUE, MATHIAS	Temoins	MC	A series of commissioned works, each connected to a location given to me. The sites were used as recording studios for creating multilayered compositions with minimal to none post-production. All instruments were played on site. Roz was recorded in Roz-sur-Couesnon in April-May 2014, mixed in Nantes in September 2016. Commissioned by the sound art gallery Le Bon Accueil (Rennes), as a workshop with schools from the area of the Mont Saint-Michel. Bruz was recorded at the Faculté des Métiers (IFA) de Bruz (Rennes) in March-April 2011, mixed in Nantes in May 2011. Commissionned by the Festival Electroni-K in Rennes, for the “Sound Postcards” program. TU was recorded at the Théatre Universitaire de Nantes, 8 October 2011, during a rehearsal of Stomach Company’s Ô l’air frais des bords de route. Mixed in Nantes, 9 October 2011. Mathias Delplanque was born in Ouagadougou, Burkina Faso in 1973. He is a composer, performer, improviser, music critic, author of sound installations, teacher, composer for theatre and dance, and the founding member of several musical ensembles. He lives and works in Nantes, France. Delplanque started working as a composer in 1998 as he graduated from the Fine Arts School and decided to put an end to his sculpture activity and turn towards sound creation. He has since been releasing on various international labels, including his own label Bruit Clair. He collaborated with musicians from various points of the musical spectrum, and numerous visual artists, writers, photographers, film directors, dancers, etc. His installation works are frequently shown in galleries and art centres, and he regularly performs on stage, solo or accompanied by other musicians. "Témoins" is Mathias Delplanque’s third release in Crónica, after the acclaimed "Passeports" (Crónica 048~2010) and "Transmissions" (Crónica 088~2014). https://cronica.bandcamp.com/album/t-moins	2018	€9.50
DENNISON, DORIS	Earth Interval	LP (single sided) + BOOK	300 copies. 140gr Audiophile pressing. Including printed inner sleeve housing a Nagaoka anti-static record sleeve, plus an original insert that functions as Obi. Comes with a large Photographic booklet including extensive liner notes, rare archival photographs, biographical essays on composer Doris Dennison and dancer AA Leath, and historical documentation of this pioneering 1956 percussion work* The discovery of Doris Dennison's score represents a genuine musicological breakthrough—what once would have been "a tree falling in the woods" thirty years ago now holds the potential to render "a thunderous clap in our minds." While researching Anna Halprin's lesser-known collaborators, scholar Tom Welsh uncovered the archives of AA Leath, one of Halprin's principal dancers. Buried within these materials was Dennison's handwritten score for Earth Interval, dated May 1956. Born in Saskatchewan, Canada, in 1908, and raised near Seattle, Dennison (1908-2009) encountered John Cage while teaching Dalcroze eurythmics at the Cornish College of the Arts. She joined Cage's earliest percussion quartet—alongside Margaret Jansen, the composer and his wife Xenia—in the group widely regarded as having performed the first complete concert of percussion music in the United States. This historic December 1938 concert was followed by tours and the landmark May 1941 performance at the California Club, comprising Cage and Lou Harrison's Double Music, the premiere of Cage's Third Construction, and Harrison's 13th Simfony. As Bradford Bailey observes in his extensive liner notes, Earth Interval demonstrates "an extraordinary balance of elements that imbues the piece with a sense of clarity, directness, and constraint that is both distinct and ahead of its time." The work's most remarkable innovation lies in its approach to extended techniques, particularly Dennison's notation for the central movement: "In 2nd movement, 1st player lowers + raises a gong into a tub of water while beating." This technique, absorbed from Cage's experimental vocabulary, generates what Bailey describes as "fields of acoustic abstraction that bend and warp time through sustained resonances, beat, and space." The temporal sophistication of these manipulations anticipated Karlheinz Stockhausen's Mikrophonie I (1964) and Annea Lockwood's water-based sound investigations by over a decade. After joining Mills College as dance accompanist, Dennison maintained crucial connections to the Bay Area's experimental scene, collaborating with figures like Merce Cunningham and programming Cage's music throughout the 1950s. Comprising three movements—Land Form, Air Tide, and Earth Play—Earth Interval is scored for recorder, drums, gongs, maracas, muted gongs, and bowl gongs. In total, the piece is just under eight minutes: "a fleeting glimmer of moment in time, a life spent at the cutting edge, and a singular creative vision that packs a powerful punch." When viewed in historical context, placed in contrast to roughly contemporaneous avant-garde percussion works by Cage, Harrison, Louis Thomas Hardin (Moondog), and Harry Partch, or important precursors like Edgard Varèse's Ionisation (1931) and Henry Cowell's Ostinato Pianissimo (1934), it's clear that Dennison was following her own path. Earth Interval is not derivative. It is a precursor to what was yet to come, alluding to developments of avant-garde and experimental music that wouldn't begin to appear on the cultural landscape until the 1970s and '80s, with the emergence of Post-Minimalism and more idiosyncratic artists and ensembles like Midori Takada, Ros Bandt, Peter Giger, Frank Perry, Christopher Tree, Michael Ranta, Gamelan Son of Lion, and Niagara. This recording by Chicago's Third Coast Percussion, captured in March 2022, represents the first complete documentation of this pioneering work. The ensemble's interpretation reveals the piece's remarkable contemporaneity while maintaining its historical specificity. Where Cage, Harrison, and Partch employed "self-consciously off-kilter polyrhythms," Dennison's rhythmic sensibility anticipates minimalist developments by nearly a decade, yet integrates "forceful rests, as well as sharp shifts in sonic character, tempo, and meter, that break the momentum and breathe a sense of life into the piece's structure." This positions her work closer to Post-Minimalism decades before its emergence. The architectural approach demonstrates Dennison's understanding that "the composer almost entirely disappears" in favor of phenomenological listening experience, creating what might be called an egoless music that places its realities and meaning entirely in the ear of the beholder. The present recording, realized by Chicago's distinguished Third Coast Percussion ensemble, represents a significant achievement in experimental music scholarship and performance practice. As specialists in the Cage tradition and contemporary percussion repertoire, Third Coast Percussion approached Earth Interval with the historical sensitivity and technical precision required to illuminate Dennison's subtle compositional innovations. The March 2022 recording sessions, engineered by Colin Campbell, capture both the work's intimate chamber music qualities and its bold exploration of extended techniques. The ensemble's interpretation reveals the piece's remarkable contemporaneity—its ability to speak directly to current musical concerns while maintaining its historical specificity. This recording serves multiple scholarly functions: it provides the first complete documentation of Dennison's compositional voice, offers insight into the broader network of experimental music practitioners surrounding Cage and Harrison, and demonstrates the sophisticated level of compositional thinking that was occurring within the Bay Area's dance-music collaborations of the 1950s. The work's emphasis on phenomenological listening—what might be called an "egoless" approach to musical experience—places it within a lineage of American experimental music that prioritizes perceptual process over compositional personality. The work's original obscurity—limited to AA Leath's performances at venues like the 1957 Pacific Coast Arts Festival at Reed College—paradoxically allowed it to remain "entirely on its own terms," free from the constraints of historical categorization. Drawing on Jacques Derrida's Archive Fever, the argument emerges that "the archive can acknowledge, celebrate, and resurrect" overlooked voices, transforming our understanding of experimental music history. The present Blume edition, featuring Third Coast Percussion's authoritative interpretation, includes a lavishly illustrated 16-page booklet designed by Bruno Stucchi / dinamomilano, containing complete scholarly apparatus, historical photographs, and detailed production notes. This recording enables "cross-temporal intersectionality," allowing Dennison to "belong to a newly formed and more dynamic understanding of the present and past," demonstrating how forgotten voices can reshape entire historical narratives when given proper scholarly attention and performance advocacy.	2025	€33.50
DET KÄTTERSKA FÖRBUND	Lidaverken Del I: Att I Vådeld Förgås	CD	Cold Spring Records presents two Swedish titans -- Nordvargr (MZ.412) and ᚦᛟᚦ ᚷᛁᚷ (Trepaneringsritualen) -- teaming up for a bludgeoning dose of death industrial majesty. Det Kätterska Förbund, consisting of the two giants dominating the death industrial world -- Thomas Ekelund (Trepaneringsritualen, Dead Letters Spell Out Dead Words) + Henrik Nordvargr Björkk (MZ.412, Pouppée Fabrikk, Folkstorm, etc.) -- has been slowly and methodically working for almost five years to finish the first album of this double-headed abomination. Patience richly rewarded. You can instantly feel the presence of lurking unease as the album slowly opens up a distorted world of familiar sounds and voices, but there is something special about these recordings; the menacing aura that has been created adds new elements to the otherwise rigid tropes of the genre. Punishingly heavy rhythmic tracks, with savage incantations from both Thomas and Nordvargr, gratifyingly familiar to fans of the artists' main projects, are flanked by these death-scarred lamentations. https://coldspring.bandcamp.com/album/lidaverken-del-i-att-i-v-deld-f-rg-s-csr265cd-lp	2021	€13.00
	Lidaverken Del I: Att I Vådeld Förgås	LP	Cold Spring presents two Swedish titans - NORDVARGR (MZ.412) and ᚦᛟᚦ ᚷᛁᚷ (TREPANERINGSRITUALEN) - teaming up for a bludgeoning dose of Death Industrial majesty. Det Kätterska Förbund, consisting of the two giants dominating the Death Industrial world - Thomas Ekelund (Trepaneringsritualen, Dead Letters Spell Out Dead Words) + Henrik Nordvargr Björkk (MZ.412, Pouppée Fabrikk, Folkstorm etc) - has been slowly and methodically working for almost 5 years to finish the first album of this double-headed abomination. Patience richly rewarded. You can instantly feel the presence of lurking unease as the album slowly opens up a distorted world of familiar sounds and voices, but there is something special about these recordings; the menacing aura that has been created adds new elements to the otherwise rigid tropes of the genre. Punishingly heavy rhythmic tracks, with savage incantations from both Thomas and Nordvargr, gratifyingly familiar to fans of the artists' main projects, are flanked by these death-scarred lamentations. CD in debossed digipak. LP on 180g vinyl in debossed sleeve: Ltd x 250 copies on olive green vinyl (via Cold Spring and the artists only) Ltd x 500 copies on black vinyl https://coldspring.bandcamp.com/album/lidaverken-del-i-att-i-v-deld-f-rg-s-csr265cd-lp	2021	€22.00
DEUPREE, TAYLOR	Mur	LP	Deupree describes the album title “as if there’s always something about my music that’s like a murmur”, resulting in a murmuring effect when pronouncing the names of each track. Mur is a personal journey through the challenging year that 2020 has been. Taylor Deupree is an American musician and mastering engineer based just outside of New York. As a former member of the American electronic band Prototype 909, Deupree has had numerous collaborations with artists such as Ryuichi Sakamoto, Stephen Vitiello, Alva Noto and Marcus Fischer. Curating 12k, a New-York based music label, is another aspect of Deupree’s career and brought together over one hundred releases since its beginnings in 1997. Having some similar artists in our catalog (Federico Durand, Will Samson and Steinbüchel for example), it’s safe to say that Deupree’s new release through Dauw will be in good company. "Mur is a profoundly tender work, made for close listening; the waters of its meditational, memorial stream of flowing minimalist ambient run deep." (Loud and Quiet, 7/10) https://dauw.bandcamp.com/album/mur	2021	€23.00
DEUTSCH NEPAL	Dystopian Partycollection Vol. 2	CD	"The second Dystopian Partycollection contain a mixture of orfan tracks, exclusive remixes and music that earlier only could be found on vinyl aswell as some intresting collaborations featuring some of the deepest undergrounds finest selection of artists. A big variation of sounds and representing a wide timespan and alien transformations of the music in orbit round the fat planet Baby Doll. The music was recorded 2009 – 2015, 12 tracks in 63 minutes, refined and supported by Trepaneringsritualen, Navicon Torture Technologies and Der Blutharsch and the Infinite Church of the Leading Hand. Observe this is a compilation of music recorded under different conditions on different occations, direction of sound and qualities vary and produce a strongly addictive cocktail of dystopian music from Deutsch Nepal." [label info] "Der erste Teil der vorliegenden „Partycollection“ wurde 2008 unter dem COLD MEAT INDUSTRY-Banner veröffentlicht und berücksichtigte zuvor nur verstreut zu erhaltene Compilation-Beiträge und Vinyl-Tracks aus den Jahren 2001 bis 2005. Dasselbe Konzept liegt nun natürlich auch „Deutsch Nepals Dystopian Partycollection II“ zu Grunde, nur das nunmehr die Jahre ab 2006 an der Reihe sind. Zudem kommen auch Stücke von Nebenprojekten oder Kollaborationen zum Zuge, sodass wir es hier mit einem musikalisch breiteren Ansatz zu tun haben, obwohl das Gesamtbild dann doch recht homogen ausfällt. THOMAS EKELUND a.k.a. TREPANERINGSRITUALEN ist zum Beispiel bei dem Nebenprojekt SWOLLEN vertreten, von dem man gerne mal mehr hören würde, aber auch bei der Neufassung von „We Shall Live Again“ – im Original auch schon mit seinem Beitrag u.a. auf „Amygdala“. Eine Zusammenarbeit mit NAVICON TORTURE TECHNOLOGIES und alternative Versionen basierend auf Material für DER BLUTHARSCH AND THE INFINITE CHURCH OF THE LEADING HAND sind ebenso dabei wie Tracks von JANITOR LBD, die bisher nur als Download veröffentlicht wurden. Dass LINA sein 1999er Album „Erosion“ noch nicht losgelassen hat, konnte man ja bereits an der Neuaufnahme des Titeltracks für das letzte Album „Alcohology“ bemerken. Auch die „Partycollection II“ beginnt mit einem neuaufgenommenen „Erosion“-Track nämlich „How Low…“. Einer der Höhepunkte der Zusammenstellung ist aber sicherlich das folgende „Ich steh‘ im Regen“ – ein ZARAH LEANDER-Cover, das gerne im Live-Programm auftaucht und allein für eine Compilation, die heutzutage oft leicht untergeht, sicherlich zu schade war. Gerade die ersten beiden Stücke weisen aber auch schon auf einen recht ruhigen Grundton hin, der die Zusammenstellung durchzieht. Der Fokus liegt bei den meisten Stücken jedenfalls auf dem Gesang und auf der Zeichnung von melancholischen Atmosphären. Die Hinwendung zu etwas rhythmischerem Material – wie auf dem letzten Album „Alcohology“ zu beobachten – ist bei diesen Tracks jedenfalls nicht zu verzeichnen. Das schmälert natürlich nicht die Qualität, denn die ist tatsächlich recht hoch, was an „In The Other End Of The Bottle“ oder auch dem düsteren Abgesang „Rapist Park Junktion“ von der gleichnamigen Single zusätzlich deutlich wird. Hier wurde kein schwächeres Material abgeladen, das auf einem Album keinen Platz finden könnte. Insofern ist diese Partycollection für DEUTSCH NEPAL-Enthusiasten sicherlich unverzichtbar. Party! Party! Party!" [Tony F. für nonpop.de]	2016	€15.00
DEYHIM, SUSSAN / BILL LASWELL	Shy Angels. Reconstructions and Mix Translation of	CD	"The previous three artists whose work was revisited by Bill Laswell are Miles Davis, Bob Marley and Carlos Santans... we were therefore both honored & thrilled when the mighty Bill (whose credentials as a producer include names such as Laurie Anderson, Afrika Bambaataa, George Clinton, Yoko Ono, and most recently Herbie Hancock) accepted to create a new interpretation of Iranian diva Sussan Deyhim's "Madman Of God" album. The result is magnificent and provides a continuous, 45 minutes listening experience which includes re-arranged versions of all albms's songs, featuring new performances by musicians including Karsh Kale, renowned Indian tabla player Zakir Hussain and others, on top of the original albums's line-up (Reggie Workman, Glen Valez, Reza Derakhshani etc). "Madman of God", which came out in 2000, is Sussan Deyhim's uniquely personal reading of devine love poems by Rumi, Saadi and other Persian Sufi masters, set to a mixture of traditional Persioan music and delicate electronics, her extraordinary vocals being the central focus. Deyhim's live performances in 2001 were few but memorable (including a steaming set at the Montreux Jazz Festival and an acclaimed appearance with Ornette Coleman's group in London). A series of not-to-be-missed festival dates in Europe are planned for this year." [label info] www.crammed.be	2002	€13.00
DIMMER (JOSEPH HAMMER & THOMAS DIMUZIO)	Remissions	do-LP	Nach "Shining Path" das zweite Album für das kalifornische Duo (die Langzeit-Aktiven THOMAS DIMUZIO & THOMAS HAMMER), absolut meisterhafte & spannende Dronescapes, die einen gleich gefangennehmen... unheimlich bannend, metallisch-irisierend, mit Obertönen wie von rostigem Metall... vier lange Stücke aufgenommen auf verschiedenen Konzerten 2006-2007. Aussergewöhnlich schön! "Dimmer's Remissions is the second full-length album from longtime sonic architects of interactive feedback circuits, Thomas Dimuzio and Joseph Hammer. This 2xLP effectively represents four side-long pieces from their live shows throughout California taken place between 2006 and 2007. Essentially a follow-up to their 2007 album on Los Angeles' Melon Expander, Remissions expands upon the immense recursive tape looping and resampling that is found inherent in their work but achieves a weight and time displacement that greatly overshadows their dark preceding full-length. All four pieces were recorded at: Norcal Noisefest in Sacramento (2006, 'Sky Wire'), The Luggage Store Gallery in San Francisco (2006, 'Sun Dog'), The Smell in Los Angeles (2006, 'Gases That Emit Light'), and ArtSF's Noise Pancakes Series (2007, 'Giant Eagle'). Live sampling, processing, feedback, looping by Thomas Dimuzio. Tape manipulation and processing by Joseph Hammer. Design and layout by Thomas Dimuzio, Joseph Hammer and Brandon Nickell. Limited to 500 copies on full-color sleeves with cover photography by John Dalton." [label info] "... Hammer's instrument of choice is the reel-to-reel tape deck, through which he can muster an uncanny palette of sound, noise, and drone. The two have worked together off and on for a good part of the last decade, with a handful of performances throughout California and a couple of releases - Remissions being their second and collecting some of the best moments from those live gigs. "Sky Wire" builds insectoid buzzes and creepily harmonic drones out of the interplay between Hammer's rough-hewn tape manipulation and Dimuzio's deftly rendered swells, somewhere between Machinefabriek and Christoph Heemann. "Sun Dog" grafts blackened noise onto an electrocutioner's hum, with Hammer's start 'n' stop tapes popping into view like a detached Burroughs cut-up. Both "Gases That Emit Light" and "Giant Eagle" continue along these same strategies with eerie clouds of drones that fold and collapse between harmonic resonance and dissonance with unsettled bursts of soft focus noise. This is really exceptional stuff, and certainly some of the best that we've encountered from either artists individually." [Aquarius Records review] "It may sound like a new name, and half of it also is. Dimmer is a duo of Thomas Dimuzio and one Joseph Hammer. This double LP set is the follow up to a CD on Melon Expander which I didn't hear. Each of the four sides has a live recording, three from 2006 and one from 2007. Dimmer uses live sampling, processing, feedback, looping (Dimuzio) and tape manipulation and processing (Hammer). This is pretty interesting music. All four pieces show something that could be labeled as 'band sound'. The careful tape manipulations of Hammer, making the tape go 'wobbly' against the heads, set against a scary set of subdued electronics. A record to turn up the volume as things seem rather 'low' here, but once a bit louder reveal a lot of hidden detail. Scary, spooky stuff, with dark atmospheric undercurrent. Of the four pieces 'Giant Eagle' is my favorite here with its somewhat more clear tape sounds, and scraping, feedback like rusty metal sound, whereas the other three seem to be moving more along side one specific idea and are throughout more minimal. Excellent sci-fi soundtrack stuff at work here, save then perhaps for the piece I like which works really fine by itself. An excellent record. " [FdW / Vital Weekly] www.isounderscore.com	2009	€25.00
DIMUZIO, THOMAS	Amid Zero Echo	do-10inch	"Thomas Dimuzio's Amid Zero Echo marks the new release from this US underground legend from San Francisco, whose massive hypnotic soundscapes already released in the 90's were much ahead of the time! Four new transcendental drone masterworks abstracted from electric guitar bristle with life through the dense, rich and detailed sonic expanse of Dimuzio's glorious sound world. Vibrating wires of the electric guitar inform a digital musique concrete modus operandi replete with unheard studio techniques which form a music with a strong organic core. These four drones open wide rooms for phantastic aural imaginations: like flying over endless grounds of unknown origin, sensing a heavy suction of extreme gravity, moving towards a black hole center... or driving into a totally dark mining tunnel with all the metallic ore and dust around.... These are drones that LIVE from the inside! Striking gatefold artwork by Mars Wellink showcases two clear vinyl LPs in an equally compelling and beautifully designed package. Thomas Dimuzio is a musician, composer, sound designer, mastering engineer, label proprietor, and music technologist residing in San Francisco, California. Inspired as much by John Cage as Led Zeppelin, Dimuzio's music forms a sonic excursion that transports the listener into other worldly aural realms. “His work has a narrative, filmic tug that will draw you into its dark corners, ears alert… brilliant and rarely less than entertaining.” [Peter Marsh, BBC] Long regarded as a musical pioneer for his innovative use of live sampling and looping techniques, Dimuzio has earned a deserved reputation worldwide as an avant-garde sound artist in touch with the aesthetic pulse of time and technology. A true sonic alchemist who can seemingly create music events out of almost anything, Dimuzio's listed sound sources on his various releases include everything from 'modified 10 speed bicycle' and 'resonating water pipe' to short-wave radios, loops, feedback, samplers, synthesizers and even normal instruments such as guitar, clarinet and trumpet. Dimuzio's eclecticism bespeaks a career equally informed by a profound dedication to his craft and collaborations with friends, artists and technologists alike. Dimuzio's recordings have been released internationally by ReR Megacorp, Asphodel, RRRecords, No Fun Productions, Sonoris, Drone Records, Record Label Records, Odd Size, Seeland, and other independent labels. Among his collaborators are Chris Cutler, Dan Burke, Joseph Hammer, Anla Courtis, Nick Didkovsky, Due Process, Voice of Eye, Fred Frith, David Lee Myers, 5uu's, Matmos, Wobbly and Negativland." [label info] www.substantia-innominata.de "Attending a Thomas Dimuzio performance is like lying underneath a web of freeway bridges with your eyes closed; blocking out all visuals except the brief daggers of light that flicker with each passing car. There is a sense of probable dread—metal, wooden or cigarette debris from the vehicles could fly off and injure you—but also one of hypnotized calm, thanks to the amplified hum of Michelin and Goodyear against greased concrete." [Cameron MacDonald, Pitchfork Media] "While I was listening to this double 10" record, I was thinking that Thomas Dimuzio has a very distinct sound, although I would not go as far as to say that I could pick him blind in a contest. The four pieces on this record are what we know from Dimuzio and what we love; at least that's what I do. It's never easy to know what Dimuzio is doing, and perhaps I have some romantic notion about it: take a teeny tiny fragment of sound and capture that is an endless range of sound effects, samplers, oscillators and filters and what else he got down in his studio. The cover says 'guitar and processing', so there you go: what do I know. Like so many others he knows how to manipulate the guitar beyond - light-years beyond actually - the sound of the guitar and it sounds like this dark, slow moving landmass; Drone Records, who are behind this series, calls him a sonic alchemist, and that term is perhaps over-used, but maybe not in this case, I think. Dimuzio creates the kind of drones that many dream of and few can actually do: that of a constant swirl up, down and side ways spin, always moving and changing, never in state of standstill. It's music that could as easily work for as a soundtrack for a film, but is best enjoyed on it's own, in a barely lit room at night and at a louder volume: only then, I would think, the true beauty will be fully uncovered. Music as a total immersion event. The only downside is you have to get and change the record a few times; on the bright side, you have four pieces and the choice to release this as a double 10" is a great one. One day on CD, perhaps, please?" [FdW/Vital Weekly] www.substantia-innominata.de	2014	€20.00
DOUMA, MARCO / ROEL MEELKOP / RUTGER ZUYDERVELT	Pierdrie	DVD	"All three artists here are from the city of Rotterdam, best known (other than these artists of course) for having one of the world's largest harbors. It's here we find Roel Meelkop and Rutger Zuydervelt, both armed with a hard disc recorder and microphones and Marco Douma armed with a video camera to tape sounds and images from this busy harbor for their 'Pierdrie' work, as screened on three monitors and four speakers and which has epic proportions. It starts and ends with water, we climb up the quay, with odd signs on metal like walls, highly abstract, but moving towards the less abstract shots of the entire harbor. Little by little it gets darker and darker, night falls, and lights can be seen, and the color of the water gets slowly lighter and lighter: it's day again, and the DVD, which lasts eighteen minutes, starts, automatically again. Epic indeed, the constant, busy harbor, a 24 hour economy. The music by Meelkop and Machinefabriek is a fine work of sizzling tones, and metallic scraping, of machinery in the harbor, but subdued, rather than 'industrial'. A peaceful harmony between the endless stream of water and the life around it. A dreamy, poetic picture of the harbor of Rotterdam, a beautiful stream of image and sound. Maybe the DVD with one monitor is a poor excuse, but at least it allows us to watch a bit of it, and everywhere we want." [FdW/Vital Weekly] www.pierdrie.org	2012	€13.00
DRYGIANAKIS, COSTIS	Chondros and Katsiani on the Mountain (Ο Χονδρός Και Η Κατσιάνη Στο Βουνό)	CD + BOOK	"Back in 1998, and starting as a play on the big operas of American Minimalism (Philip Glass’ Einstein on the Beach and John Adams’ Nixon in China), Costis Drygianakis, together with Thanasis Chondros and Alexandra Katsiani (two thirds of the group Dimosioypalliliko Retire), devised a radio opera based on their own exotic studio travels and throughout the musics of the world. Built around an improvised libretto by Thanasis and Alexandra, Costis’ work develops emphatically though with a light-hearted touch, oscillating between lengthy piano-based structures, powerful instrumental crescendos and a creative use of early digital tools. Chondros and Katsiani on the Mountain is an intricate, rich, and quietly profound piece, yet one that avoids the hybris that comes together with the notion of the “grand work”. In this it stands apart from its contemporaries in 1998, as much as it does today. It also provides a high benchmark for the artists’ careers, as well as for listeners invested in all sorts of sonic explorations. Whether it be through Optical Musics, his subsequent compositional work, occasional collaborations, or his rich contemporary ethnomusicological research, Costis Drygianakis’ name is nowadays firmly established within the Greek music scene and beyond. Through an equally rich trajectory, Thanasis Chondros and Alexandra Katsiani appear at times as musicians, artists or performers, maintaining a fresh and subversive approach towards artistic expression and work. One of the many non-conformist ideas that came as a result of the meeting of the two is contained in this CD. The work first appeared in Volos’ Municipal Radio in 1998 and in a limited edition on Alli Poli in 2006. It is reissued here in an extensive bilingual edition containing the libretto and freshly commissioned texts. Audio remastered by Stephan Mathieu. Accompanying texts by Areti Leopoulou, Costis Drygianakis, Thanasis Chondros and Alexandra Katsiani, Kostis Kilymis. costisdrygianakis.wordpress.com/ rekem.org/Costis-Drygianakis-Chondros-and-Katsiani-on-the-Mountain	2019	€16.00
DUENN	On Layer	CD	Duenn (Fukuoka, Japan) is an electronic musician and composer producing minimal works, using a minimum of equipment. With "On Layer" he brings us 5 fragile dreamscapes reminding of the late, great Oophoi, which says a lot about the impact of the music... Duenn (Fukuoka, Japan) is an electronic musician and composer producing minimal works, using a minimum of equipment. Through collaborations with other artists, both sonic and visual, Duenn seeks an expansion of self. In 2017, Duenn formed the experimental collaborative unit 3RENSA with Merzbow and Nyantora. Duenn co-hosted the ambient event "Hardcore Ambience" with Nyantora. Duenn's works have been published by Entr'acte (UK), SicSic Tapes (DE), New Motion (COL), OnmyÅdÅ Cassette (US), Grumpy Records (UK), Slowdown Records(JP), Progressive Form (JP), White Paddy Mountain (JP). duennjp.tumblr.com https://soundcloud.com/silentes-13 "The latest from Japanese electronic sound artist Duenn is Pattern. This recording is laid out in two parts, or two lengthy ambient ‘patterns’. The sonic soundscape drifts, or rather it glides along extremely fluidly. Any slight ripple is noticeable in this rather minimal composition of secluded harmony. About five minutes in most listeners will dip slowly into a quasi consciousness. The light layers, many of them, overlap just slightly, all quite transparent, but in succession create a haze induced by a low-slung reverb and a glaze of light static. Though a cloudy density is certainly well built, the impossibility of gravitational disconnect is presented. These resonances seem incurably weightless. I’m reminded of countless documentaries of rockets zooming toward outer space, as the atmospheric layers are pierced, parts of the ship are discarded to make way for the central navigation pod, think Apollo 9 and its more glorious successors. Consider space as a whole, and altitude, and the complexity of being untethered to Mother Earth. It’s daunting, and somehow as soothing as any sleep concert I’ve ever attended. On the flipside Pattern [part II] opens in darkness, but quickly opens with split warm and chill tonalities. We are now on a journey it seems, and the synths here are aligned with smoothly brushed lines making for quite a meditative piece. The inflections developed are more ranging in the second part, rising to a brighter hue that seems to continue expanding with each gentle modulation. If sound were nature, this would be a waterfall upon a high mountain peak." [Toneshift]	2019	€13.00
DUKE, ANDREW / AKUMU	Organic	CD-R	Two new unknown names for us on John Gore's (KIRCHENKAMPF) label: ANDREW DUKE has 10 shorter pieces with delayed object-noises, nicely effected roaring drone-waves, weird electronic sounds, and glitchy rumbling granulation-fields, many details & ideas here, every piece is different... AKUMU presents three permeating sonorous drones with lots of micro-sounds... great CDR, much recommended! "two Canadian sound artists: Andrew Duke of Cognition Audioworks of Nova Scotia presenting his cutup glitch compositions and Akumu (aka Deane Hughes) three tracks of deep drone - limited to 100 copies" "I always appreciate Cohort’s will to present non-commercial electronic music from all over the world, even at the price of a few minor releases. But the good ones are REALLY good, and this is one of them. Andrew Duke, who is a renowned composer active in many different media, is here represented by a series of relatively dark tracks which feature quite a lot of spontaneous instrumental generation, in addition to Andrew’s obvious technical skills. Deceitful patterns and clashing reverberations release inexhaustible, mind-dislocating clouds of frequencies that contrast – or get married to – hypnotic vicious circles in an unpredictable kinship with hypothetical altered states of mind. Headphones are recommended to catch every minute detail, as Duke works at the margins of the audio spectrum to deliver his brand of electronica from any preconceived interpretation, virtualizing events with the equidistant calm of a neutral observer. Dean Hughes (Akumu) is even more obscure, entrancing and – contrarily to what the titles might suggest – organic. His three tracks are long explorations of the psyche through a mass of extremely resonant low drones that suggest no other behavior than a total relinquishment of our will to penetrate their structure (no pun intended). For my own taste, this is the best half of this split album, bringing memories of current masters of the genre (Frans De Waard’s Shifts and Freiband projects come to mind) through a masterful modulation of our sensitive apparata. But the whole CD is excellent, and it would be unjust on my behalf dividing the artists’ merits." [Touching Extremes]	2006	€9.00
DUNCAN, JOHN	Organic	LP	"The inter-disciplinary maverick John Duncan emerged in 1970s Los Angeles as a confrontational performance artist and, as the decade progressed, aligned himself with the experimental-music collective Los Angeles Free Music Society. His sound art appeared on various self-released cassettes and alongside artists such as Jim Pomeroy and Yoshi Wada on the Los Angeles Institute of Contemporary Art's influential compilation Sound. Duncan's debut album, Organic, released in a tiny edition on the artist's own AQM imprint in 1979 and distributed through LAFMS, collects some of his earliest and most absorbing noise experiments. Recorded live, Organic is composed of two sidelong pieces: "Broken Promise," a patient, murky dirge featuring Duncan on tape and percussion, plus Michael Le Donne-Bhennet on bassoon; and "Gala," a kinetic, durational percussion piece featuring Duncan alone. The meditations on texture and unpredictability, realized with unconventional and found sounds, anticipate his later work with shortwave radio. First-time standalone reissue. Limited edition of 500 numbered copies on clear vinyl."	2018	€25.00
DUNCAN, JOHN / KONTAKT DER JÜNGLINGE / C.M.VON HAUSSWOLFF	Untitled	CD	Übriggebliebene Kopien einer CD die anlässlich eines DIE STADT-Konzertabends in Brüssel (18.10.2007) veröffentlicht worden ist: Ein langes live-Stück von JOHN DUNCAN (San Francisco July 2007) -> wieder spürt man man hier die rohe & archaische Kraft von reinem Klang und die grossen Dynamikeffekte von eingesetzer "fliessender" Stille (24+ Minuten). Überraschenderweise dann ein älterer live-Mitschnitt von KONTAKT DER JÜNGLINGE, und zwar vom Mai 2003 aus Montreal, der sie sehr rauh und ausserweltlich dronig zeigt, auf verschiedenen Klangleveln (gefällt uns natürlich ausgezeichnet). Bei CM VON HAUSSWOLFF geht es wie gewöhnlich noch 'ne Ecke verschrobener zu, wenn beim "All Tomorrows Parties"-Festival (?) rhythmisch wiederkehrende Quietsch- oder Sinustöne zu vernehmen sind.... diese CD funktioniert sowohl als rares Bonus-Material für die Fans, aber ist auch für Drone-Novizen geeignet, die sich in die Materie hineinzoomen wollen. "To be on Die Stadt as an artist seems to me a great thing. Besides great looking releases, they organize events for you, and for such an occasion they usually release a CD or a 7", which can be bought on the night, but there is always a left-over for the unlucky who didn't make it. Last month there was an event in Brussels with three stable mates: John Duncan, CM von Hauswolff and Kontakt Der Junglinge. Perhaps Die Stadt asks too much of their artists, and none did a new studio recording, but you could also think it's interesting to capture a live track by them. So three live tracks here. Duncan's piece was recorded at the Compound, earlier this year, and although it's a while since I last heard studio recording by John Duncan, it sounds like a trademark piece for him: micro tones, composed from heavily processed shortwave sounds, make up a fine piece shifting from intense loudness to careful and delicate. Very nice. Kontakt Der Jünglinge, being Asmus Tietchens and Thomas Köner, present a recording from 2003, at the Mutek festival. They too present a characteristic piece for them with computer processing of acoustic sounds. Loads of dark rumble and high pitched processed sounds. Hauswolff's piece seems to be made with bird sounds, looped around and with a crescendo of noise coming in and more insect like sounds. Nice but not his best. Three good introductions of three great artists (well, four), in case you ever would need that." [FdW / Vital Weekly] www.diestadtmusik.de	2007	€13.00
DUNCAN, JOHN & C.M. VON HAUSSWOLFF	Our Telluric Conversation	CD	„John Duncan und Carl Michael von Hausswolff sind bestens bekannt für ihre Erkundungen auf dem Gebiet der minimalen Klangbereitung. Schon für sich allein vermeiden beide den Überfluss und das Geplapper. Zusammen nun sind sie der reduzierten Form noch ein großes Stück näher gekommen. Ihre zweite Kollaboration beweist den brillianten Umgang mit hohen und tiefen Klangfrequenzen und Geräuschelementen, die sie dem Kurzwellenempfang, Oszillatoren und mikrofonbestückten Drähten entlocken. Auf dieser CD sind drei entsprechende, langförmig gestrickte Dronekonstruktionen zu hören. Auf spürbar tiefem Grundraunen werden Geschichten geflüstert. Ströme unterschiedlicher Qualitäten, zwischen weissem Rauschen und scharf peitschenden bis hoch tönenden Wellen oszillierend, spielen zusammen, überlagern sich und sind doch fein abgesetzt voneinander. Während man damit beschäftigt ist, verirrte Digitalsplitter abzuwehren, drückt der Stereoeffekt einen, alle Materie unmerklich deformierenden, schleppenden Brei aus dicker Watte in den Raum. Diese Form der Meditation ähnelt dem ersticktem Schreien. Doch kann man in den Minuten, in denen man subtil auf Herz und Nieren geprüft wird, wunderbar im 40seiten Booklet nachblättern, warum Unterhaltung auch Schmerz bedeuten kann. Eine gummiartige Ummantelung, der ein Titel in Brailleschrift eingeprägt wurde, hält Booklet und CD zusammen. _Duncan and Hausswolff are wellknown for their explorations in the fields of minimal sound settings. Both names are standing for an almost minimal musical gesture.Together they have found their way to reduce it yet again. Their second collaboration shows a brilliant handling of deep and high frequencies and noise elements from shortwave, data streams, oscillators and wire tapping microphones. Three pieces of long-form drone constructions are assembled on that CD. Deep background noises, controlled white noise and streams of sharp high tone waves are growing slowly up from the nowhere. A hypnotical continuum of sound forces the listeners full attention, nudging him into airless space through sudden breaks in it. There is also a quiet interesting 40 page booklet with an interview between Duncan and Hausswolff about their histories, ideas, and methodologies, explaining also their accurate purity. It is a very good completion to a music which is composed from the point of psychology research and visual art. All together in a card board embossed with braille and covered with a rubbery coating.” [Peter Schlewinski for Drone Records] ”23five Incorporated proudly presents Our Telluric Conversation -- the second collaborative album from John Duncan and Carl Michael von Hausswolff. This is an album which Duncan describes as having been galvanized by magnetism. In a semantic sleight of hand, Duncan and Hausswolff reveal magnetism through a duality of meanings. One on hand, they speak of the physical phenomenon of charged objects that exert an attraction or repulsion upon other objects; yet on the other, magnetism can be defined the psychological influence wielded by charismatic individuals. Our Telluric Conversation maps out the complexities that emerged through the collaborative pursuits of these venerated sound artists. The tools that the two employed for Our Telluric Conversation are common to their respective catalogues of recordings, with Duncan bringing his shortwave, data streams, and uncanny use of the human voice while Hausswolff employed oscillators, sonar, and wire tapping microphones. The album opens with the mechanical rotation of modulated sonar, providing a hypnotic pulse which slowly submits to an obstinate surge of rumbling noise, that in turn collapses into focused white-noise turbulence and tone-bent SSB transmissions. All of this abruptly detours with a protracted spoken narrative from Hausswolff who whispers a Pynchonesque text about a maggot-infested individual who seeks to remedy his affliction by communing with cobras and geckoes. Afterwards, Duncan and Hausswolff entertain the seduction of the long-form drone constructions; however, their sublime minimalism is so brilliant in its beauty as to be piercingly acute through the purity of honed sinewaves. The final entry from their Conversation is the perfect marriage of the established Duncan and Hausswolff aesthetics, with a spare low-frequency hum deadening the sonic architecture before a static charge of crackled ether supplements the auditory smoldering. Our Telluric Conversation stands as a bold, expressive piece of sound art, confident in its multiplicity of perspectives caught in a constant flux of attraction and repulsion. The recording comes with a 40 page booklet with an interview between Duncan and Hausswolff about their histories, ideas, and methodologies; furthermore, the packaging is completed by a curiously tactile O-card, which has been embossed with braille and covered with a rubbery coating.....” [press release]	2006	€14.00
DUNCAN, JOHN & PAOLO PARISI	Conservatory (San Sebastiano)	BOOK & CD	Ein weiterer Ausstellungs-/Installationskatalog mit Audio-CD von JOHN DUNCAN, diesmal in Zusammenarbeit mit PAOLO PARISI. Alle Klänge basieren auf “human voice only”... "Full color 64 pp. paperbound catalogue with installation audio CD mounted in separate cover, both inserted in paper box. Catalogue : Texts (English/Italiano) by Daniela Cascella, Pietro Gaglianò, Giovanni Iovane, & Sergio Risaliti. Audio CD : John Duncan : shortwave, processing. Catalogue and CD cover produced by Maschietto Editore. CD produced by Allquestions." [label notes] „The work of John Duncan should need no introduction, as he has long been one of Aquarius' favorite sound artists; however, Paolo Parisi is something of a mystery to us. An Italian sculptor, painter, and installation artist, Parisi commissioned Duncan to compose a sound component for one of Parisi's installation. The themes behind Parisi's installation for plastic tubes and eviscerated cardboard sentry houses are far too convoluted to recount within this review; but in a shocking display of Aquarian restraint, we'll merely mention that the Panopticon, Hitchcock, Deleuze, and Duchamp all get name checked throughout the book's text celebrating Parisi's installation. The CD is all Duncan; and it's well worth the price of admission. Duncan has long been known for his use of shortwave radio sounds as the springboard for his psychologically intense compositions; but slowly, he has been introducing the human voice into his pantheon of sound sources. For Conservatory, voice is the only source he is using, in particular he's amplifying and stretching the gasps, wheezes, and hisses that occur during the act of breathing. Through his manipulation of these sounds, Duncan cultivates a vast network of gaping blasts of air that collectively build into a ghastly, frigid drone emanating from a unscrupulous cryrogenics laboratory. Another epochal release from Mr. Duncan!“ [Aquarius Records]	2006	€35.00
E.G.OBLIQUE GRAPH (BRYN JONES)	Bryn Jones - Complete Oblique 1980-1983	7 x LP BOX	Limited to 400 copies, numbered box set containing 7 vinyl LPs, one vinyl 7", 2 booklets, one mini poster, a certification card, a slipmate and a t-shirt Vinyl-on-demand presents the definitive excavation of Bryn Jones' formative years with Complete Oblique 1980-1983, a comprehensive 7LP/7CD box set that collects every recording from the pre-Muslimgauze era. This extraordinary archaeological document captures one of experimental music's most prolific figures in the crucial period before his transformation into the underground legend we know today. Between 1980 and 1983, working under the moniker E.g Oblique Graph, Jones was assembling what would become one of experimental music's most singular vocabularies through minimal electronic pieces built from synths and tape manipulations. This collection gathers all three impossible-to-find cassettes originally released on "Kinematograph Tapes" (Extended Play, Piano Room, Inhalt) plus the rare 7" Triptych for Bourbonese Qualk's "Recloose Organization." Complete Oblique reveals material that bears little resemblance to trademark Muslimgauze. Instead of the dub-heavy rhythms and Middle Eastern influences that would define his later work, these recordings present an artist enthusiastically experimenting with sounds and technology, creating music that is crude yet surprisingly varied and very much of its early '80s moment. The opening Fall Into Glass presents a bleepy reverbed melody with classical suggestions, while Merge develops into darker experimental territory with voices underscored by developing swirling tones. What's most startling is the appearance of icy melodies and loads of ghostly space in these recordings, placing them closer to the experimental strategies of Throbbing Gristle and Cabaret Voltaire than future Muslimgauze releases. Much of the material explores the same post-industrial landscape that Zoviet France, Nurse With Wound, Einstürzende Neubauten, and SPK were simultaneously mapping, while drawing from the systematic alienation techniques pioneered by Neu! and La Düsseldorf. The collection encompasses everything from the eerie Choir-Screen with its spooky haunted music from almost voice-sounds which sweep and swirl ethereally, to the monumental 21-minute Piano Room - a complex collage that anticipates the systematic tape manipulation techniques of Jones' future work. You can feel the influence of Chris Watson-period Cabaret Voltaire, the glacial repetitions of Cluster, and the ritual minimalism of Conrad Schnitzler. Most crucially, Complete Oblique documents the emergence of Jones' signature approach to political titling. Tracks like Islamic Koran In Camera Dome and Rapid White Flag In Snapshot Blur appear precisely as Israel's 1982 invasion of Lebanon occurs, marking the paradigm shift that would define his future work. This is where those vaguely poetic, evocative titles referencing political turmoil paired with hypnotic minimalist electronics first emerge - an aesthetic vocabulary that echoes Laibach's concrete interventions while anticipating the systematic approach that would later inspire artists** like Vatican Shadow. Despite being his earliest releases, these four recordings are also Jones' most challenging and uncompromising - quite an accomplishment in a discography nearly 400 albums deep. Complete Oblique functions as more than historical curiosity; it serves as a masterclass in how artistic identity crystallizes through apparent failure and successful accident in equal measure. SOUNDOHM	2025	€230.00
	Bryn Jones - Complete Oblique 1980-1983	7 x CD box	Vinyl-on-demand presents the definitive excavation of Bryn Jones' formative years with Complete Oblique 1980-1983, a comprehensive 7LP/7CD box set that collects every recording from the pre-Muslimgauze era. This extraordinary archaeological document captures one of experimental music's most prolific figures in the crucial period before his transformation into the underground legend we know today. Between 1980 and 1983, working under the moniker E.g Oblique Graph, Jones was assembling what would become one of experimental music's most singular vocabularies through minimal electronic pieces built from synths and tape manipulations. This collection gathers all three impossible-to-find cassettes originally released on "Kinematograph Tapes" (Extended Play, Piano Room, Inhalt) plus the rare 7" Triptych for Bourbonese Qualk's "Recloose Organization." Complete Oblique reveals material that bears little resemblance to trademark Muslimgauze. Instead of the dub-heavy rhythms and Middle Eastern influences that would define his later work, these recordings present an artist enthusiastically experimenting with sounds and technology, creating music that is crude yet surprisingly varied and very much of its early '80s moment. The opening Fall Into Glass presents a bleepy reverbed melody with classical suggestions, while Merge develops into darker experimental territory with voices underscored by developing swirling tones. What's most startling is the appearance of icy melodies and loads of ghostly space in these recordings, placing them closer to the experimental strategies of Throbbing Gristle and Cabaret Voltaire than future Muslimgauze releases. Much of the material explores the same post-industrial landscape that Zoviet France, Nurse With Wound, Einstürzende Neubauten, and SPK were simultaneously mapping, while drawing from the systematic alienation techniques pioneered by Neu! and La Düsseldorf. The collection encompasses everything from the eerie Choir-Screen with its spooky haunted music from almost voice-sounds which sweep and swirl ethereally, to the monumental 21-minute Piano Room - a complex collage that anticipates the systematic tape manipulation techniques of Jones' future work. You can feel the influence of Chris Watson-period Cabaret Voltaire, the glacial repetitions of Cluster, and the ritual minimalism of Conrad Schnitzler. Most crucially, Complete Oblique documents the emergence of Jones' signature approach to political titling. Tracks like Islamic Koran In Camera Dome and Rapid White Flag In Snapshot Blur appear precisely as Israel's 1982 invasion of Lebanon occurs, marking the paradigm shift that would define his future work. This is where those vaguely poetic, evocative titles referencing political turmoil paired with hypnotic minimalist electronics first emerge - an aesthetic vocabulary that echoes Laibach's concrete interventions while anticipating the systematic approach that would later inspire artists like Vatican Shadow. Despite being his earliest releases, these four recordings are also Jones' most challenging and uncompromising - quite an accomplishment in a discography nearly 400 albums deep. Complete Oblique functions as more than historical curiosity; it serves as a masterclass in how artistic identity crystallizes through apparent failure and successful accident in equal measure.	2025	€110.00
EARZUMBA	Bestia Infernal	CD	Neues Material von argentinischen Drone-artist CHRISTIAN DERGARABEDIAN, der sich stylistisch mit seinem Projekt EARZUMBA mal wieder kaum einordnen lässt mit seiner irren Plunderphonia & Electro-Akustik beeinflusster Komposition. Als Beigabe gibt es etwas ganz anders, einen Mitschnitt von seinem tollen Solo-Auftritt in der Neuen Weserburg in Bremen, der im April 2005 von Radio Bremen mitgeschnitten und später ausgestrahlt wurde, ca. 30 Minuten fabulöse Drone-Vibrations! "...this album is pure sampladelia: Billy Joel,Metallica,tons of blues artists, Cage, Elvis, Bowie, tons of public and r&r bands, Screamin Jay Hawkins,Discepolo´s classic "siglo xx cambalache" PLUS a piano improvisation,a electroacoustic track and a bonus track of 30 MINUTES LONG of pure drone recorded live by RADIO BREMEN!!!!!! OUT NOW!!!" [label website info] "This is probably one of Christian Dergarabedian’s best albums to date, if not THE best, presenting his greatly enjoyable, truly “delihilarious” work with samples and cut’n’paste in the first half and an engrossing exploration of the low realms of “cosmic vibration” in the very last track " [Massimo Ricci TOUCHING EXTREMES]	2006	€8.00
EAVIL	Les Fleurs du Mal	CD-R	Pro CDR comes in jewel case with full color inserts and shrink wrap. "EaViL" was a simultaneously unwieldy and timid odd couple of queer synth pop outsiders. For ten years, E. Al Dente and N. Vilches released home-made CDRs in EP format, almost always containing one or two cover songs. EaViL were either indifferent or untoward regarding the unspoken obligations of your average musical acts, while still maintaining a sort of resolute hermetic diligence in terms of promotion, regardless of their intentions. There are no overwrought affectations, no "ersatz bad boy" aesthetics, no self-conscious posturing, no Machiavellian bullshitters, and no obnoxiously ambitious go-getters here. Rather, in the place of any particular over-arching gimmick, is a general "take it or leave it" tone to the work, which is brimming with a sense that the listener is being welcomed as a guest into the artists' home; and with it, the kind of spiraling raw inspiration mixed with studio-rat isolation vibes that so many of us crave. Nevertheless, the audio/visual performances of this yin/yang dynamic were nothing less than stimulating. What initially rose out of the ashes of membership in a precociously noisey Indian Jewelry related band, The Electric Set, was a series of modest, yet earnest and gentile nods to the history of performance art , as well as italo disco, among other things. Odd masks, warped videos of Diana Ross, and lyrics about EaViL's cats ("Patsy" and "Edwina"), Alfred Hitchcock movies, their south side Chicago stomping ground (McKinley Park), or "Tarantula Juice" and other surrealismo permeate the lo-fi synth soundscapes, which at times just happen to tip-toe similar territory as wide-ranging as BeNe GeSSeRiT, Atari Teenage Riot, Giorgio Moroder, or Le Forte Four. Initially, EaViL were an all-analog group, slowly evolving to embrace laptop technology. During their tenure, they performed on the famed "Chic-A-GoGo" public access TV show, and opened for popular "electro-glam" duo Glass Candy, among other ventures, but as far as we at NO PART OF IT are concerned, their collective musical candle went out too early. "Les Fleurs du Mal" is a kind of anthology of favorite tracks, including some highlights from an unreleased/unfinished album called "DeciMaL" for your personal enjoyment. The digital download contains more than twice as much material with hidden bonus tracks, including some more experimental dimensions from the outfit, not to mention some particularly deconstructed covers of Prince, Yaz, and Siouxsie. Includes unlimited streaming of Les Fleurs du Mal via the free Bandcamp app, plus high-quality download in MP3, FLAC and more https://nopartofit.bandcamp.com/album/les-fleurs-du-mal	2018	€8.00
EB.ER, RUDOLF & WILL GUTHRIE	Hilt	LP	https://fragmentfactory.bandcamp.com/album/hilt-2 Based in Osaka and Nantes respectively, Rudolf Eb.er and Will Guthrie have both forged unique and quite different paths in numerous disciplines of experimental music over the past decades and created extensive bodies of work, both as soloists and in collaboration with other artists from around the world. Austrian-born Eb.er (aka Runzelstirn & Gurgelstøck) might be best known as the initiator and head of the Swiss artist collective Schimpfluch-Gruppe, which has constantly been pushing the boundaries of extreme music and performance art since its foundation in 1987. Among his many audio releases, »Hilt« is his third work for Fragment Factory, following »Nigredo« (as Schimpfluch-Gruppe, 2013) and »Wellenfeld« (with Joke Lanz, GX Jupitter-Larsen and Mike Dando, 2014). Australian-born Guthrie, on the other hand, has become synonym for breaking new grounds in drumming and percussion, delivering the missing link between radical and forward-thinking jazz, traditional musics and experimental/improvised electronic music. Rather recent collaborators include the likes of Jean-Luc Guionnet (note: »Stones, Air, Axioms / Delme« w/ Thomas Tilly, Fragment Factory, 2015), Mark Fell and Oren Ambarchi. »Hilt« is the first collaboration of two artists who, based on their previous musical work, seem very different at first glance. However, it quickly becomes apparent, that the distinct approaches to composition and sound complement each other perfectly and make this album a very special and exciting affair. The closer you listen, the more you will be drawn into it and realize that the rhythmic drumming, the careful arrangements of hiss, crackle and eerie muttering paired with fragmented bits of percussive noises make »Hilt« a very coherent whole. A very organic and ritual-like album I would say, captivating and a little daunting at the same time. Fragment Factory is thrilled to present »Hilt« in its final revelation, pressed in an edition of 300 copies on black vinyl with smashing artwork by Alice Kemp, long-time friend and co-conspirator of the label and Herrn Eb.er. Additionally to the regular edition, there is a special edition of 20 copies with unique collage cover art by AK, produced individually for each copy. Available on request as long as they last, only from the label and artists. Drums, Percussion, Microphones – Will Guthrie Electro-Acoustics, Artwork, Layout, Microphone – Rudolf Eb.er Dolls, Photography – Alice Kemp	2022	€26.50
ECHOES OF YUL	Tether	CD	"Zoharum presents ECHOES OF YUL in their new release entitled 'Tether'. After two longplayers ('Echoes Of Yul' and 'Cold Ground') and a split CD, it's time for the next release, atypical in every respect. It's not a full album in the exact meaning of this word. 'Tether' is an extended play which has a record running time for such a release which clocks at 78 minutes. It's a stylistically varied project which is the result of the collaboration with many artists of different backgrounds. 'Tether' contains 4 new tracks full of slow heavy riffs, sounds from broken synths and ethereal atmospheres plus a number of reinterpretations by Different State, iconAclass (MC Dalek), James Plotkin (OLD, Khanate), Maciek Szymczuk, Stendek, Steve Austin (Today Is The Day). All compiled to sound not like a compilation, but a stand-alone cohesive album with many unexpected twists and turns." [label info] www.zoharum.com	2014	€10.00
EIRIKURA	Reflections of a Higher Realm	CD	"The varied enchanting soundscapes of Eirikura are created using familiar instruments s.a. guitars, strings (violin, viola, cello), grand piano, flute, oboe, trumpet, drums and more unconventional ones, such as bandura, zither, bowed psaltery, musical saw and various percussions. The eclectic sound ranges in genre from neo-folk and neo-classical to ethereal and ambient." [label info] "Reflection of a Higher Realm is the debut album by neoclassical/ ambient music project Ēirikura, released by Wrotycz Records, consisting of artists from several different German bands, plus Irish poetess Johanna Doyle. With thirteen tracks – Reflection of a Higher Realm, Wassara, Flowers, Eirikura, Annabelle Blue, Oh, roses for the flush of youth, Fornocht do chonac thu, Today's Eulogy, Dance into Images, Like an out-dated Pre-Raphaelite, Gerds, Ramawas Warta and Reflection of a Higher Realm (reprise) – this is a beautiful, formidable and astonishing record, probably the best neoclassical album that I have heard. Fulfilled by references of art and literature – with original and adapted poems as well – Reflection of a Higher Realm is a fantastic, bright and marvelous journey throughout a serene, ordained, sensible and sincere universe, where a colorful ocean of hope can be seen involving worlds of incommensurable delight, in a warm and complete embrace of patience, immutability and beauty. With great tenderness and delicacy, the music of Ēirikura is a marvelous journey throughout an intelligent and thoroughly elaborated universe of supreme art, created with the sentimental, but pragmatic axiom of a truth that comprehends all the virtual and literal necessities of the human soul. Reflection of a Higher Realm couldn’t have been a better title for the album, because all tracks in this outstanding and vigorous work – without exceptions – seems to transmit exactly this sensation: reflections of a higher realm. You almost feel you are looking, touching or making contact with the omnipresent consciousness of a higher dimensional existence, parallel to our mundane and ordinary world. These songs appear to descend from a transcendental reign of underlying and subjective, but overwhelming beauty, that came to rescue us from our suffering, fatalist misery and insignificance. With folk and regional elements beautifully inserted in the songs as well, the pure and consecrated density of this work goes beyond the infinity of its majestic tenures of beauty, aggrandizing artistry and emotional virtuosity. With a succession of beautiful songs that cohesively forms in the universe of its sensible context a marvelous cosmos of original creative strength and sagacity, Reflection of a Higher Realm is an unbelievable, sensational and monumental record. Its imperial, but graceful and gentle expansive movements liberates the engines of a fragile and hidden existence, made primarily of tenderness, humanity, art and a genuine capacity to sonorously create, evoke and reproduce higher dimensions of dense and meaningful sensibility. With wonderful songs like Fornocht do chonac thu, Today's Eulogy and Like an out-dated Pre-Raphaelite – the seventh, eight and tenth track, respectively –, which are my favorites, Ēirikura offers you the possibility to travel to the extremes of your own soul, making you discover and decipher, in the process, the most profound and consistent devotional diagrams hidden in the depths of your own consciousness. But even if they were devoid of this ability – although they aren’t –, the music itself will be a reason strong enough to make anyone anxious to embark on this fantastic symbolic journey of expressive moments, filled by delightful redemptive skies of infinite grace." [Wagner/Merchants of Air]	2017	€12.00
EKIN FIL	Being near	LP	"Had the titular contest in Guy Maddin's The Saddest Music In The World not been rigged from the onset, Turkey could have delivered an impeccable contestant in Ekin Fil. For many years now, her spectral dream-pop deconstructions hold a thousand-yard stare of an unconsolable melancholy; and she's drawn the highly favorable comparisons to Grouper and lovesliecrushing thanks to her understated yet beloved catalogue of releases on Root Strata, Students Of Decay, No Kings, and Sacred Phrases. Helen Scarsdale has long been a fan of Ekin Fil's work, and we are delighted to have her in our constellation of artists here at The Agency. Born Ekin Üzeltüzenci and based in her native Istanbul, she cites the shoegazing classics (Cocteau Twins, Cranes, Slowdive, etc.) as her earliest influence, seeking out worn issues of Melody Maker or NME from second hand shops and trading cassettes with friends and fellow enthusiasts. This Proustian obsession with rainsoaked melodies from the British Isles blossomed into a foundation for her own art. Being Near stands as the pinnacle in her luminous career, with achingly beautiful and elegantly simple arrangements for guitar and electronics saturated in cavernous amounts of reverb, whose semi-mystical blur extends well into the vocal melodies. Ekin Fil's songs emote a timelessness of human desire and longing, albeit constrained to this plane of existence. For Üzeltüzenci, her music is not an escape valve from the patriarchal hammer of the dominant culture in Turkey, but a reflection through her own condition, in her own context, from her own body that may have actualized what Helene Cixous theorized as "écriture féminine" but through sound and not language." [label info] www.helenscarsdale.com	2016	€20.00
ELECTRIC URANUS / X-NAVI:ET	Voices of the Cosmos	CD	"Project "VOICES OF THE COSMOS" is an educational-artistic initiative created by two artists from Kujawsko-Pomorskie: Rafał Iwański (X-NAVI:ET) and Wojciech Zięba (ELECTRIC URANUS). Both of them have lot of experience in creating experimental and electroacoustic music. In recordings of this album original extraterrestrial sounds captured from space by radio-telescopes (pulsars), sounds from space missions and the space itself. Every artists created 3 tracks that form the 40 minutes album. Instrumental tracks played and recorded in rhythm with tones of "space sounds", are made manually with use of electronic and acoustic instruments. All that makes this project very unique. It is the only type of it in Poland. The project had also gain reputation in science circles. "VOICES OF THE COSMOS" is the electroacoustic dark ambient (although it should not be genered this way), it's music that in 100% the title itself explains - the voices of cosmos. We watch the sky and the stars, we know many photos of heavenly bodies, other galaxies. All that fascinates us, is beautiful and colorful. But those are not environments kind to us. They are terrifying, cold or extremely hot places. And this how this album is. It can take you out there but it can scare you too. As a bonus two tracks are added in video version, made with exclusive video-art by Chris Konky. The "VOICES OF THE COSMOS" is released by Beast Of Prey and Eter Records in a three panel digipack." [label info] www.beastofprey.com "Rafal Iwanski is the man behind HATI, a percussion group from Poland, but in his spare time he is also the man behind a solo project called X-Navi:et, which is all about electronic music. Here he works with Wojciech Zieba, also known as Electric Uranus. They already released an album in 2011, which was more a split album, which each of them playing three pieces. The name, Voice Of The Cosmos, should be taken literally: they use recordings from out space, picked up with a 32 meter radio telescope in Torun. Here they have five pieces which they performed live at the the Planetarium and Astronomical Observatory in Grudziadz, plus two solo pieces each. You could, perhaps all too easily, think this is the kind of early long form synth music, with pieces that last twenty minutes, lots of arpeggio's on the keyboard, bouncing jolly forward. This is not the case here. These men keep their pieces actually quite short for this type, and not exclusively build with the use of synthesizers, but also with samples from space and even a heavily processed voice. This is the kind of music that is actually striving to be a pop song, even when the music is not entirely 'pop' like. The structure of the pieces is all to be a rounded song structure, and not a more open ended free fall of synth sounds. The use of long wave sounds in this music add a nice experimental component to the music. The solo tracks, aren't the divided sum of the total, but more along similar lines, so perhaps you could wonder if perhaps this could have been entirely in solo mode, but of course the element of creating together adds that a bit of extra tension to the music. It's worth picking up their 2011 album, the split one, and get a more complete picture of the development. Excellent cosmos music, something just out of the ordinary, but not too estranged." [FdW/Vital Weekly]	2011	€12.00
	Voices of the Cosmos II	CD	"Project "VOICES OF THE COSMOS" is an educational-artistic initiative created by two artists from Kujawsko-Pomorskie: Rafał Iwański (X-NAVI:ET) and Wojciech Zięba (ELECTRIC URANUS). Both of them have lot of experience in creating experimental and electroacoustic music. In recordings of this album original extraterrestrial sounds captured from space by radio-telescopes. The „Voices of the Cosmos II” is the continuation of the previous album. In this case the radio signals related to the activity of the Sun became the main source of inspiration. The record was being created during the 2013 solar maximum (activity cycle no. 24). In the compositions, a whole range of signals, accompanying the aurora borealis can be heard. They originate in bombarding the Earth’s magnetosphere with charged solar wind particles. While listening to these pieces we realize fully the permanent interaction between the Sun and the Earth. The "Voices of the Cosmos II" is released by Beast Of Prey and Eter Records in a three panel digipack. Project partially financed from resources the Scholarship of the Grudziadz City in the sphere of the Culture and Art." [label info] www.beastofprey.com	2013	€12.00
ELEKTROJUDAS / XNDL	split	LP	"For years, the work of elektrojudas released on Attenuation Circuit has been linking the drone/ambient flavour of the label to more dance-oriented styles of electronic music. On this split LP featuring four tracks by elektrojudas and three by his long-time musical companion XNDL, the two collaborators give an impressive insight into the hidden kinship between abstract instrumental hip hop and drone electronica. XNDL has been active since 1998 in musical styles from hip hop to drum’n’bass as a DJ, producer, and engineer, working with artists such as Anticon, Botanica Del Jibaro, Shapeshifters, Plague Language, and many others. On his own record label SubversivRec, he published some 45 releases by underground/abstract hip-hop acts. This LP is co-released with his current publishing outlet, cognitivedefect. This split release marks a new step in the ongoing artistic collaboration of XNDL with elektrojudas. Both sides of the vinyl are unified by mid- to downtempo beats with a rather relaxed feel. Dreamy piano chords sometimes make you think that this could be a nice chill-out album. But then you turn the record over, and suddenly jarring, guitar-like distortion and high-pitched oscillators change the atmosphere. Things do not get faster, but the tension rises … until it is resolved again. An exciting sonic journey that showcases one of the many paths of musical innovation in the hip-hop tradition, and an admirably consistent approach shared by the two artists." [label info] www.attenuationcircuit.de	2014	€16.00
ELGGREN, LEIF	Death travels backwards	DVD	"Cataloguing a collection of works from 1999 to the present, DEATH TRAVELS BACKWARDS delivers an important overview of the artist's pursuit of the hidden secrets and spectral enigmas found within the everyday. What marks ELGGREN's video works is an understanding of how image and sound work together to infuse the electronic material with an element of the uncanny, and to supply the imagination of the viewer with a glimpse onto infinity. Active since the late 1970s, Leif ELGGREN is one of the most constantly surprising and mysterious conceptual artists to work in the combined fields of audio and video. A writer, visual artist, stage performer and composer, he has numerous audio releases to his credit, working individually and also with the Sons of God (along with Kent Tankred). His music, often conceived as the soundtrack to visual installations or experimental stage performances, presents carefully selected sound sources over a long stretch of time and can range from mesmerizingly quiet electronics to harsh noise. His wide-ranging and investigative body of work consistently involves dreams and mysterious narratives, often inverting social hierarchies to ultimately subvert the real with poetical matter." [label info] www.errantbodies.org	2009	€16.00
ELODIE (TIMO VAN LUIJK & ANDREW CHALK)	La Porte Ouverte	LP	La Porte Ouverte was recorded by Timo van Luijk, Andrew Chalk and Tom James Scott and was cut by Noel Summerville at 33/45 in London. Available in a standard only edition and cut at 45 RPM for higher fidelity. 350 copies pressed. Sleeve is printed in reverse board with poly-lined inner sleeve. Any orders are always shipped vinyl out of main sleeve to prevent seam ripping. 'An open door... an exit... an entrance... a new horizon we never know where we are... as long as the door remains open there will be light...' www.farawaypress.info "Few musical artists have explored the notion of quietness as a virtue — and, let’s face it, as a reaction to the fetishization of high volumes in rock music — with as much rigor as Andrew Chalk and Timo van Luijk do in their Elodie duo. Performing live in about 2012 or so, opening for Eyvind Kang and Jessika Kenney, they held the audience in rapt silence, Chalk gently — barely — caressing the strings of his acoustic guitar and van Luijk only occasionally whistling with unbelievable restraint into his flute, was remarkable. Not to mention bold. It’s a potentially risky approach, but the control van Luijk and Chalk have in their interactions (not to mention their musical skill) means they have consistently been able to evince new forms of minimalism. For La Porte Ouverte, originally issued in 2016 on cassette, the duo is joined by Liberez pianist Tom James Scott, and his keys, added to subtly applied textures from other instruments, lead to a slight change in the overall aesthetic of Elodie. There was always a difference between Elodie live and their studio output, but on this album they shake off the shackles of lowercase altogether, removing the constraints of that genre’s formalism and delving into a delicate, moonlit realm somewhere between barroom jazz and modern minimalism. On most tracks, Tom Scott’s piano acts like a semi-regular metronome: emerging gradually but with confidence, delineating the atmosphere with patient, slow-building clusters of notes, arranged like outlines. Within — and even without — the resulting canvasses, Timo van Luijk and Andrew Chalk have the space to reflectively dab their own considered shades, reacting both to the piano and each other. “Matin de Marbre” shimmers like light on a marble statue, a thread-like keyboard note drifting anxiously in and out of tremulous piano notes. There are hints of Angelo Badalamenti’s compositions for David Lynch, especially the Straight Story soundtrack, in the aching tone of the instruments; it’s equally easy to imagine a lot of the tracks on La Porte Ouverte forming the backing track for a song sung by Isabella Rosselini in Blue Velvet. “La Marche” is more austere, with piano notes struck almost angrily by Scott only to find no echo in van Luijk and Chalk’s unflinching keyboard drone. Somewhere deep in the mix, van Luijk’s flute seems to echo like a defeated cry, but that could just be my ears finding textures that aren’t there. Or maybe they are, it’s hard to tell. As an entire album, La Porte Ouverte can have that effect, especially on the longer tracks. On average, the tracks on the first half are most minimal and quiet, borrowing most noticeably from lowercase traditions in the sparseness of the piano notes and barely audible flourishes on flute or guitar. Scott’s playing will instantly appeal to fans of Morton Feldman or Michael Nyman, whilst the keyboard arrangements evoke the ambient works of Fennesz or David Sylvian’s mid-1980s work (sans the vocals, of course). “Le Jardin Onirique” is the side’s longest work, and also the most abstract, fittingly given the title. A dreamlike quality drifts through much of the entire album, the earthiest moment coming with the emergence of Andrew Chalk’s guitar on “Par la Main,” as he sketches out a gentle series of scales to dance hesitantly with Scott’s piano motif, rewarding listeners with the most intimate piece on the album. In contrast, the second side features synths and keyboards more prominently, although don’t go thinking the results are lush or dense. Elodie make a virtue of stillness and calm, and the lengthier tracks (of eight, only three feature on side B) somewhat paradoxically underline this further. The title track drifts on a curtain of synthetic strings into which piano notes drop like rain into a pond. It’s a profoundly moving and melancholic piece, its apparent simplicity hiding a range of depths. Tom James Scott really shines, delicately deploying his notes only when necessary, and the synth arrangement is positively haunting. I’m not sure what the title, which translates as “The Open Door,” means, beyond maybe a sense of welcome, which this track certainly carries in abundance. The organ-drenched “Lumen” is possibly the loudest Elodie has ever got, the venerable church instrument building a foundation over which piano and vibraphone notes swirl like motes of dust caught in a shaft of light. Again, I find myself reaching for Badalamenti, but in truth that’s a lazy shorthand for music that is both emotionally-resonant and cinematic in scope. Elodie have jazz and minimalism in their bones, and feeling in their hearts, and by broadening their palette so effectively on La Porte Ouverte they have created an album as close to unique as you can get in 2016." [Joseph Burnett/Dusted Mag] "Utterly sublime ambient jazz from consummate, lower case collaborators, Timo Van Lujik and Andrew Chalk, joined here on piano by Tom James Scott (Charcoal Owls, Liberez) in a subtly breathtaking LP of melting romantic gestures and spectral electronics. Big recommendation if you're into David Lynch, Bohren Und Der Club of Gore, Af Ursin, Oren Ambarchi... Their 8th album - alternately released like all previous Elodie LPs since 2011 on the duo's respective labels, La Scie Dorée and Faraway Press - they navigate thee finest line of anticipatory tension and vaporous release, resulting in some of the most tender, unshowy yet arresting musical expressions that we’ve heard in years. In eight parts they expand, contract and drift off on shafts of moonlight, oscillating shorter vignettes which appear like magnetically suspended bonsai trees - as with the hyaline delicacy of Matin de Marbre or the latinate acoustic guitar that slides between the silken ambient tones and Feldman-meets-Sakamoto keys of Par La Main - with longer sections such as the midnight stroller Le Jardin Onirique and the B-side’s sail-away suite of three pieces, including the unmissable title track, afford teasingly intangible visions of a sound which we’re sure everyone can agree, is some of the most beautiful music imaginable. We were lucky enough to catch the duo in this record’s line-up with Tom James Scott at Salford’s Islington Mill in 2016, where we witnessed them totally silence the room with an almighty, barely-there demonstration of how to enchant a crowd. As with everyone else in the room, we were duly pinned to our seat for the duration, with incidental creaking chairs and refrigerator hum only heightening the sublime tension whilst waiting for the trio’s next, curious jazz chord in sequence, or when attempting to follow their chromatic gasses off into the ether. Like the weeks after seeing their show last year, you just kinda want to make sure everyone in earshot knows about or can at least get a glimpse of this music. It just seems to reset everything..." [Boomkat]	2017	€16.50
EMERGE	Contrition	mCDR-box	"On the two 10-minute pieces that make up this release, EMERGE uses samples from bass guitar (track 1) and prepared electric guitar (track 2) to create reverberating sonic environments that combine his characteristic dark drones with chords and melodic fragments that lend these compositions an unusually warm, acoustic sound. EMERGE aka Sascha Stadlmeier is the founder and curator of the Attenuation Circuit label. Underlining the label’s collaborative spirit, EMERGE has invited label artists Eazy and Gerhard Zander, with whom he also collaborates in live improvisations (see “Betrachtung”, ACC 1001), to contribute snippets of their playing the bass guitar and prepared electric guitar. While most of EMERGE’s earlier works process their source materials way beyond any possibility of recognition, the two compositions on this disc are markedly different. Not only does the processing sometimes enhance the acoustic, analogue, and rather delicate feel of the source instruments, instead of sculpting the source materials into massive, bass-heavy blocks of sound. What also adds a new dimension to EMERGE’s catalogue of austere, abstract dronescapes is the fact that the two pieces, especially track 2, use a varied palette of seemingly rather referential sounds, conjuring up associations that range from the zoomorphic to the oriental." [label info] www.wix.com/attenuationcircuit/attenuation-circuit "The final release is by Emerge, the project of Sascha Stadlmeier, who is also the man behind the Attentuation Circuit label. Knowing his previous releases, its not a surprise that on this new one he explores the edges of sampling through the use of a single sound source, in this case the bass guitar (track one) and prepared electric guitar (track two). These new pieces see him move away from his earlier work, going more into a collage like style of sounds, pieced together into compositions stemming from the world of musique concrete and making connections to the world of people like Marc Behrens or Roel Meelkop. Moving away from the more densely layered works with less variation, into a much richer field of music, at least that's what I think. A major leap forward for Emerge." [FdW/Vital Weekly]	2011	€6.50
EMERGE FEAT. DON VOMP	Retention	CD-R	"The first ever collaboration of drone artist EMERGE and experimental violinist Don Vomp, recorded in 2009 at the lab.30 festival in Augsburg, is a hauntingly intense performance. Evolving from dronescapes into intricate interplay between live and processed violin into the icy caverns of reverbed small sounds, this 45-minute set shows a very good sense of economy and timing. Effectively a live improvisation, “retention” clearly shows that the artists collaborated closely in preparing their live set. All the sounds created and played by EMERGE are based on the ‘natural’ sound of Don Vomp’s violin. The beauty of the resulting piece is that the soundscape evolves from clearly recognisable (if somewhat layered and pitched, kind of Niblock-style) violin-y timbres to totally alien sounds, alien in the sense of “from outer space.” And as the listener travels along in EMERGE’s spaceship, Vomp’s live violin playing, even if he hardly uses any effects, starts to sound more and more unfamiliar. Making us hear a totally traditional instrument like the violin in an unexpected new way – isn’t that among the best things that experimental music can achieve? File under: Free improvisation" [label info] www.attenuationcircuit.de	2014	€6.00
EMPUSAE / SHINKIRO	Organic Aural Ornaments II	CD	listen: https://empusae.bandcamp.com/album/organic-aural-ornaments-ii On their second collaboration of the Belgian Empusae and the Japanese Shinkiro the duo manifests an organic journey through the inner cinema and creates a space of haunting ritualistic ambience and enthralling melodies. The recordings blend poly-rhythmic landscapes and field recordings, spacious textures and deep ambient drones. Organic sequences move through the musical architecture and build long tracks of an evolving deep ruminant sea of waves. Deep ambient interstellar audio presented in the midst of multilayered synthesizers and organic field recordings chained to extraordinary rhythmic atmospherics. Slow percussions and spherical atmospheres representing the impressive collaboration of the two artists. https://loki-found.bandcamp.com/album/organic-aural-ornaments-ii	2022	€13.00
	Organic Aural Ornaments II	LP	listen: https://empusae.bandcamp.com/album/organic-aural-ornaments-ii On their second collaboration of the Belgian Empusae and the Japanese Shinkiro the duo manifests an organic journey through the inner cinema and creates a space of haunting ritualistic ambience and enthralling melodies. The recordings blend poly-rhythmic landscapes and field recordings, spacious textures and deep ambient drones. Organic sequences move through the musical architecture and build long tracks of an evolving deep ruminant sea of waves. Deep ambient interstellar audio presented in the midst of multilayered synthesizers and organic field recordings chained to extraordinary rhythmic atmospherics. Slow percussions and spherical atmospheres representing the impressive collaboration of the two artists. https://loki-found.bandcamp.com/album/organic-aural-ornaments-ii	2022	€23.00
ENGEL, CLARA	Tender	LP	"Backwards is proud to present the new album by Clara Engel, the Canadian musician with the warm and dreamy voice, also known for the intimate and melancholy character of her compositions, heartfelt and passionate. "Tender" is a sort of manifesto of Clara's way to conceive music: her songwriting is intense and fraught with emotions of the broadest range; her melting lyrics bring us back to the "poetry in music" by artists as Jacques Brel or contemporary balladeer Antony Hegarty. Listening to the eight tracks of "Tender", you have the impression that the only voice of Clara is enough to declaim her inner world: the arrangements, deliberately meager and never baroque, they just represent an added value, a "white outfit" equally suggestive of her compositional, artistic and vocal skills. Moving from visionary atmospheres à la David Lynch to raging blues of the Mississipi Delta, till gloomy sceneries that seem to come from Nick Cave's pen, Clara can combine Chrissie Hynde, Howlin' Wolf and Diamanda Galas into a single artistic creature." [label info] www.backwards.it	2012	€15.00
ENGLISH, LAWRENCE	Lonely Womens Club	LP	"Beautiful new work from Lawrence English. Pressed in an edition of 500 copies. Lawrence English is composer, media artist and curator based in Australia. Working across an eclectic array of aesthetic investigations, English's work prompts questions of field, perception and memory. English utilises a variety of approaches including live performance and installation to create works that ponder subtle transformations of space and ask audiences to become aware of that which exists at the edge of perception. Over the past decade, English's sonic investigations have traversed a divergent path through which musical languages and environmental sources are granted equal focus. His work calls into question the established relationships of sound and structure. English's sound work is evocative and invites the listener to explore their own narratives and impressions informed by personal histories and experiences. Published widely on respected imprints including Touch, 12K and Winds Measure, English's work is sculpted and overwhelmingly intricate. As a producer, English has completed numerous projects with artists including Tujiko Noriko (U, Blurred In My Mirror), Ben Frost (Theory Of Machines) and Tenniscoats (Totemo Aimasho, Temporacha). He has also completed commissioned compositions for acclaimed performance troupe Circa and other contemporary dance ensembles and has worked as a sound designer on video installations in collaboration with artists including Australian visualist Craig Walsh. His music has also been used in a number of films including a commission from Makino Takashi to create a composition for The Low Storm in 2009." [label info] www.importantrecords.com	2012	€16.50
	Cruel Optimism	LP	"Cruel Optimism is a record that considers power (present and absent). It meditates on how power consumes, augments and ultimately shapes two subsequent human conditions: obsession and fragility. This pyramid is an affective ecology of the (ever)present moment. This edition owes its title and its origins to the wonderful text of the same name by American theorist Lauren Berlant. I had the fortune to come across her writing almost a half-decade ago. In Cruel Optimism, I found a number of critical readings around the issues that have fuelled so much of the music I have been making recently. Beyond her keen analysis of the relations of attachment as they pertain to conditions of possibility in the everyday, it was particularly her writing around trauma I found deeply affecting. It was a jumping off point from which a plague of unsettling impressions of suffering, intolerance and ignorance could be unpacked and utilised as fuel over and above pointless frustration. When I made Wilderness Of Mirrors, clouds of unease were overhead. As I have worked through Cruel Optimism, what seemed an unimaginable future just a few years prior, began to present as actual. Over the course of creating the record, we collectively bore witness to a new wave of humanitarian and refugee crisis (captured so succinctly in the photograph of Alan Kurdi’s tiny body motionless on the shore), the black lives matter movement, the widespread use of sonic weapons on civilians, increased drone strikes in Waziristan, Syria and elsewhere, and record low numbers of voting around Brexit and the US election cycle, suggesting a wider sense of disillusionment and powerlessness. Acutely for me and other Australians, we've faced dire intolerance concerning race and continued inequalities related to gender and sexuality. The storm has broken and feels utterly visceral. Cruel Optimism is a meditation on these challenges and an encouragement to press forward towards more profound futures. Beyond the motivations forging the record, the process by which this edition was created was unlike many of my other records. Having worked largely alone in recent years, I wanted to shift away from that approach. I wanted the opportunity for exchange, to trial new ideas in various spaces and to find myself surprised by the perspectives of others. It was this desire that led me to reach out to friends, old and new, and invite them to contribute to Cruel Optimism. It also led to me using a range of studio spaces to explore new techniques, informed by what I had learned taking Wilderness Of Mirrors on the road for the better part of two years. I count myself exceptionally fortunate to have been able to call on so many fine musicians in the making of this album. Some of these collaborations were at the foetal stages, acting as important catalysts. Specifically, contributions from Mats Gustafsson, Mary Rapp and Tony Buck were important during this period. Some contributed from afar, including Chris Abrahams and Werner Dafeldecker, who both responded so very kindly to my cryptic notes and hopelessly poetic evocations. Some artists came to visit here in Brisbane such as Norman Westberg, Brodie McAllister, Australian Voices, Vanessa Tomlinson and Heinz Riegler. Others, such as Thor Harris, kindly invited me into their homes to work together. The richness of experience afforded to me during the making of Cruel Optimism is difficult to summarise. It was ultimately a truly rare pleasure to have these exchanges. I leave it to you then, to listen as you can. This record is one of protest against the immediate threat of abhorrent possible futures. It’s an object of projection, from me to you and onward from there. I couldn’t be more pleased to share Cruel Optimism with you." [label info] "This record is one of protest against the immediate threat of abhorrent possible futures." I open the glass door of my bookcase and run my finger along the spines. All these words, written ago, from one mind to another. What does this all really contain if not the essence of another person's life? Perhaps a historical recount, or a scientific principle, or a story wrapped around a thought, philosophy, or an idea. What do all these people want to really say? Is there a warning in between the pages, a lesson for the generations, sent into the future through the might of words? I turn towards the records on my shelves and think the same. Perhaps not certitude or fact, but certainly their own reality, their truth, and their emotions are being locked inside those grooves, awaiting one more magic spin to sing and be alive. This is why music stands in time, outside of dates, and schedules, and agenda. A great record will always simply be. And then sometimes the books and music come together... All this rumination and one must wonder if it's simply not a pretext to an album I have sat on for so long. In fact, Cruel Optimism has been on rotation for nearly nine months now, slowly appearing and then disappearing again, awaiting proper time to share its point, only to be put away again, for yet another slice in time. It's possible that consuming this latest opus by Lawrence English requires a specific state of mind, a bit unease and agitation, some mortal metaphysical discomfort with a dash of existentialism and reflection. It's not a truly dark experience per se, but it's certainly not sunny waves and roses. The ominous sound of this album at times conveys a sense of an electric shock, mixed with a wall of noise, and joy of drone, and pain of silence. The oversaturated frequencies slam like a jet-fueled engine in your brain and send you flying through the haze of obtuse worlds, compact in time and dense in sound. And then there is the concept... Cruel Optimism is a record that considers power (present and absent). It meditates on how power consumes, augments and ultimately shapes two subsequent human conditions: obsession and fragility. This pyramid is an affective ecology of the (ever)present moment [...] Cruel Optimism is a meditation on these challenges and an encouragement to press forward towards more profound futures." -Lawrence English Lawrence English has been known to draw inspiration from books. Back in 2011, he released The Peregrine which was driven by a book by J.A. Baker. Now, this Australian experimental composer, and owner of the magnificent Room40 label, extracts a seed of thought from a text by the same name by American theorist Lauren Berlant. Based on the rise of the unstable geopolitical landscape, the music of Cruel Optimism is a reflection of a modern world, in all its furious, distressed, and wrathful glory. Where self-destruction is no longer just a horrid dream, physical catastrophes and spiritual implosions are just around the corner. Just take a look around (but don't turn on TV) and witness the inflicted war on (human) nature - there is no need for extra words. Cruel Optimism is not exactly a solo record either. Having mostly worked alone in his past years, this latest album sees English invite a few of his friends for the collaboration and try out new ideas in various recording spaces, exploring new techniques in a somewhat bidirectional exchange of musical conception. Here we are introduced to Mats Gustafsson, Mary Rapp, Tony Buck, Thor Harris, Norman Westberg, Heinz Reigler, and Chris Abrahams among the many. It is difficult to pinpoint the exact contributions of these musicians (I hold on to a separate credits sheet just for that), but then again, you shouldn't try and peel apart this piece, instead just let it hit you straight out of your emotionally suppressed hibernation if you haven't been already wide awake." [Headphone Commute]	2017	€26.00
ERIK M (eRikm)	Transfall	CD	"eRikm's Transfall is a document of profound gesture. A collection of works that resolve his recent explorations into music and sound for performance, dance and theatre. For almost two decades, eRikm has been a major force in contemporary musique concréte. He is a compelling improviser and forthright composer whose work taps into the central linage of sound-object oriented composition emanating from France. Developing a highly personal performance and compositional language, eRikm's reputation and position within the emergent generation of concréte composers had led to numerous collaborations with icons such as Luc Ferrari (Room40 issued Les Protorythmiques in 2007). Transfall is an archive of six works linked through new developments in eRikm's compositional philosophies. He notes : 'The time spent on the composition of some of these pieces gave me the possibility to 'break out', that is to get out of my usual processes of 'degeneration/generation' of a body or of a multiplicity of 'pre-existing sound objects'. Thus my gesture shifted, I have looked for and recorded my own sound materials.' When heard collectively, these compositions take on a presence much more than the sum of their parts. They collect unconventional approaches from an artist whose compositional methodologies are already deeply rooted in experimental traditions. The resulting pieces, and the album as a whole, represent one of eRikm's most personal and resolved works to date. A vision of future explorations mounted within a frame of the artists' previous sonic understandings." [label info] www.room40.org "The other new release is 'Transfall' by erikM, of whom I never seem to know if he's a composer or an improviser, or both. No doubt, the latter. The six pieces on his latest CD are not new. They were recorded between 2004 and 2009 and found their way to compilations, dance pieces or commissioned by an ensemble. The latter is the longest and opens the CD, and has erikM playing electronics and CD player and the ensemble playing harp, clarinets, flutes, cello and percussion. This is a piece in the best modern classic tradition, but despite reservations I may have against modern classical music, I think 'Astral' is a great piece. Partly filled with nasty electronic sounds, and partly what seems at times acoustic instruments, reminding me of the best Zeitkratzer pieces. The other five pieces are much shorter and see erikM working with electronics and field recordings. Here we find him as a more traditional composer of musique concrete, in some excellent short, concise pieces with great style. Full of tension, great compositional style and evocative, these are excellent pieces." [FdW/Vital Weekly]	2012	€13.00
ESPLENDOR GEOMETRICO	40 Anos Nos Iluminan	do-LP	"In four decades, the career of Esplendor Geométric hasn't had interruptions. They haven't stopped composing, releasing albums or playing live (with more intensity since the nineties). In 40 years, E.G. have left a discography of 23 albums, as well as singles, contributions to compilations, and cassettes published in different countries (Spain, Germany, Japan, USA, France...) They have collaborated with other artists like Francisco López (Biomechanica, with Arturo Lanz), Hijokaidan (E.G.Kaidan), Maurizio Bianchi (with Saverio Evangelista)... They have performed in more than 100 shows in Spain, France, Italy, Portugal, Germany, Japan, USA, UK, Russia, Lithuania, Poland, Sweden, Belgium, Switzerland, Holland, Denmark, Chile... and they have a full-length documentary film about them, (Geometría del Esplendor José Ramón da Cruz, 2016), has been filmed and has received various awards. 40 Años Nos Iluminan is not just another EG album, as they have reinvented themselves by taking inspiration from their own long career since 1980. The new tracks included on 40 Años offer better sound and compositions full of details, sometimes subtle, opening a new path of exploration that goes beyond the typical current industrial music, loaded with clichés. Here, E.G. experiment with noise, recorded voices, striking collages, and their trademark hypnotic rhythms of industrial trance. 40 years marks a turning and evolution of E.G., which however still sounds like E.G. 40 Años Nos Iluminan is offered on a double-album package with 16 exclusive new tracks recorded in 2020. Four are versions-reconstructions of old EG tracks by close artists, like Atom TM, Most Significant Beat, Pragma (Clock DVA, TeZ), and Moral Order. Double LP version.includes four-page insert with photos and notes; each copy has been individually customized (album cover sealed and labeled one-by-one); edition of 500 (numbered)." https://esplendorgeometrico.bandcamp.com/album/40-a-os-nos-iluminan-vol-1	2020	€35.00
	Strepitus Rhythmicus	CD	https://esplendorgeometrico.bandcamp.com/album/strepitus-rhythmicus The legend continues. The pioneer cult band Esplendor Geométrico offers us their new álbum, Strepitus Rhythmicus, of machine-like and futuristic post-industrial music. Electric pulse of mechanical rhythms, hidden voices, and factory noises. E.G. reinvent themselves again and again without losing their unique essence. Based now in Islamabad and Rome, Arturo Lanz & Saverio Evangelista have not stopped their live performances all over the world in the last years with great success. Born in 1980 as a trio, and currently a duo formed by Arturo Lanz (founding member) and Saverio Evangelista (member since 1991), Esplendor Geométrico is an influential and international electronic cult band and also a rare case in the Spanish music scene, as they have developed their own independent path aside from tags, fashion or trends, in spite of being often classified as industrial music. Their career during this four decades hasn’t had interruptions. They haven’t stopped composing, releasing albums or playing live (with more intensity since the nineties), and they have continued for the simple pleasure of making music. Esplendor Geométrico soon achieved a personal and distinct style that can be appreciated from their 80´s albums , when they used analog synthesizers and primitive electronic percussion, to the present time with new digital tools. Their influence has marked many later artists, usually classified in the so-called industrial music or rhythm&noise, as well as artists from current techno and certain types of experimental noise music. Recorded in Islamabad and Roma in 2023. Pre-Master: Uwe Schmidt. Master: Luca Spagnoletti. Graphic Design: Alonso Urbanos	2024	€15.00
	Strepitus Rhythmicus	LP	The legend continues. The pioneer cult band Esplendor Geométrico offers us their new álbum, Strepitus Rhythmicus, of machine-like and futuristic post-industrial music. Electric pulse of mechanical rhythms, hidden voices, and factory noises. E.G. reinvent themselves again and again without losing their unique essence. Based now in Islamabad and Rome, Arturo Lanz & Saverio Evangelista have not stopped their live performances all over the world in the last years with great success. Born in 1980 as a trio, and currently a duo formed by Arturo Lanz (founding member) and Saverio Evangelista (member since 1991), Esplendor Geométrico is an influential and international electronic cult band and also a rare case in the Spanish music scene, as they have developed their own independent path aside from tags, fashion or trends, in spite of being often classified as industrial music. Their career during this four decades hasn’t had interruptions. They haven’t stopped composing, releasing albums or playing live (with more intensity since the nineties), and they have continued for the simple pleasure of making music. Esplendor Geométrico soon achieved a personal and distinct style that can be appreciated from their 80's albums, when they used analog synthesizers and primitive electronic percussion, to the present time with new digital tools. Their influence has marked many later artists, usually classified in the so-called industrial music or rhythm & noise, as well as artists from current techno and certain types of experimental noise music. Recorded in Islamabad and Roma in 2023. Pre-Master: Uwe Schmidt. Master: Luca Spagnoletti. Graphic Design: Alonso Urbanos https://esplendorgeometrico.bandcamp.com/album/strepitus-rhythmicus	2024	€26.50
	El Pulso del Acero : Shinkansen	do-LP	El Pulso del Acero: Shinkansen is Esplendor Geométrico's new album, featuring 16 powerful tracks that showcase the electric and industrial energy of this group with its unique and unmistakable style. Recorded in Tokyo, Madrid, and Rome between 2023 and 2025. The raw power of their early work is also present here in some brilliant reconstructions of 80s tracks turning out very different from the originals (Rotorama, Trybuna V, Shinkansen, Héroe del Trabajo 2025, or Introspectivo). Songs such as Auto Reverse will be especially appreciated by the most avid fans of EG's early sound. Other tunes of futuristic industrial music closer to their previous album, Strepitus Rhythmicus, are also included (Experiencia AV, Isla, Por un Perro,…) Ten tracks were recorded in 2025 in Tokyo, where Arturo Lanz (founding member of E.G.) currently resides, and the other six were released, only on CD, in an ultra-limited edition (long sold out) shared with the group De Fabriek in 2023, now finally on vinyl for the first time. On the double LP version, the tracks follow one another without interruption, to evoke his live shows. Born in 1980 as a trio, and currently a duo formed by Arturo Lanz (founding member) and Saverio Evangelista (member since 1991), Esplendor Geométrico is an influential and international electronic cult band and also a rare case in the Spanish music scene, as they have developed their own independent path aside from tags, fashion or trends, in spite of being often classified as industrial music. Their career for more than four decades hasn’t had interruptions. They haven’t stopped composing, releasing albums or playing live.Their influence has marked many later artists, usually classified in the so-called industrial music or rhythm & noise, as well as artists from current techno and certain types of experimental noise music. Esplendor Geométrico: Arturo Lanz and Saverio Evangelista. Master: Luca Spagnoletti. Graphic Design: Alonso Urbanos. Recorded in Tokyo, Madrid, and Rome between 2023 and 2025. https://esplendorgeometrico.bandcamp.com/album/el-pulso-del-acero-shinkansen	2026	€34.00
ETANT DONNES	Le Paradis Blanc	LP + DVD	"This album, recorded in 1983, is also the music of a movie directed by Etant Donnés the same yearand titled “Le paradis blanc”. Mastering Norscq. The album Le Paradis Blanc was recorded in 1983. This unreleased album until today is also the music of a film directed by Etant Donnés the same year. The film and music were part of a three days installation and performance of Etant Donnés in the ELAC (Espace Lyonnais d’Art Contemporain) at the Fifth Symposium of Art Performance in Lyon in 1983 : one day for the construction of the installation, one day with a performance and one day for the destruction. The film on the DVD is an edit made with the movies of the construction and the destruction of the installation. This music like all first works of Etant Donnés was made without any instrument or effect but is the fruit of a long work on a raw sound material coming from nature field recordings and other source like TV, films, radio, streets, factorys, etc. In 1977, Eric and Marc Hurtado founded Etant Donnés that quickly became essential in the field of experimental films, performance and experimental and industrial music, recording approximately 30 albums and counting numerous collaborations with major artists of the international music scene and cinema : Alan Vega, Genesis P.Orridge, Michael Gira, Lydia Lunch, Philippe Grandrieux, Mark Cunningham, Bachir Attar and the Master Musicians of Jajouka, etc."	2017	€24.00
	La Vue	CD	"Etant Donnes is a French duo named after Marcel Duchamp's last major work. The group consists of brothers Marc and Eric Hurtado, born in Morocco and working mainly as performance artists and musicians. Their sound can be described as a mix of field recordings, found sounds and sometimes whispered, sometimes violent vocals. They describe their sounds like this: "Through Marc and Eric, it is the volume of each word that becomes an object-sculpture, together with the power of their bodies expressing their voices. Each event is a scream - indeed even the glissando - of the strength of the word that sometimes abruptly becomes a rock, a solid surface, not in the least fluvial, as is the narrative of a tale, novel or poetic epic. With both of them, there is no more trace of ancient prosodies, no more trace of the incomprehensible Sainte-Beuve who could claim: "I have to collect a volume of prose". The word, the voice, the volume take shape with each other, unveiling a theatre that theatre usually ignores, which has given it such things as a Samuel Beckett's Fin de Partie." Over the years Etant Donnes have collaborated with people like Lydia Lunch, Michael Gira, Alan Vega and Genesis P-Orridge. La Vue was the first ever recording, dating back to 1979 and originally issued on French Bain Total label (run by Philippe Fichot of Die Form). For this re-issue, the band has found a longer version than was previously available, so this is a unique chance to hear Etant Donnes in their earliest form in a version that has previously been unpublished." [label info]	2019	€15.00
	L'opposition Et Les Cases Conjuguees Sont Reconciliees	CD	"Etant Donnes is a French duo named after Marcel Duchamp's last major work. The group consists of brothers Marc and Eric Hurtado, born in Morocco and working mainly as performance artists and musicians. Their sound can be described as a mix of field recordings, found sounds and sometimes whispered, sometimes violent vocals. They describe their sounds like this: 'Through Marc and Eric, it is the volume of each word that becomes an object-sculpture, together with the power of their bodies expressing their voices. Each event is a scream -- indeed even the glissando -- of the strength of the word that sometimes abruptly becomes a rock, a solid surface, not in the least fluvial, as is the narrative of a tale, novel or poetic epic. With both of them, there is no more trace of ancient prosodies, no more trace of the incomprehensible Sainte-Beuve who could claim: 'I have to collect a volume of prose'. The word, the voice, the volume take shape with each other, unveiling a theatre that theatre usually ignores, which has given it such things as a Samuel Beckett's Fin de Partie.' Over the years Etant Donnes have collaborated with people like Lydia Lunch, Michael Gira, Alan Vega and Genesis P-Orridge. L'Opposition Et Les Cases Conjuguées Sont Réconciliées was the band's second album, originally released in 1981 on French label Bain Total, run by die Form, on cassette only. For this CD re-issue we have added a long bonus track not on the original album." www.klanggalerie.com/gg304	2019	€15.00
	Cinq Portes Soudées	CD	https://www.klanggalerie.com/gg472 https://www.youtube.com/watch?v=QxfX574peL8 Etant Donnes is a French duo named after Marcel Duchamp's last major work. The group consists of brothers Marc and Eric Hurtado, born in Morocco and working mainly as performance artists and musicians. Their sound can be described as a mix of field recordings, found sounds and sometimes whispered, sometimes violent vocals. They describe their sounds like this: "Through Marc and Eric, it is the volume of each word that becomes an object-sculpture, together with the power of their bodies expressing their voices. Each event is a scream - indeed even the glissando - of the strength of the word that sometimes abruptly becomes a rock, a solid surface, not in the least fluvial, as is the narrative of a tale, novel or poetic epic. With both of them, there is no more trace of ancient prosodies, no more trace of the incomprehensible Sainte-Beuve who could claim: "I have to collect a volume of prose". The word, the voice, the volume take shape with each other, unveiling a theatre that theatre usually ignores, which has given it such things as a Samuel Beckett's Fin de Partie." Over the years Etant Donnes have collaborated with people like Lydia Lunch, Michael Gira, Alan Vega and Genesis P-Orridge. Cinq Portes Soudées was the band's fifth album, originally released on Die Form's Bain Total label in 1984 on cassette only. For this CD re-issue we have added a long bonus track not on the original album. Full tracklist: 1. Cinq Portes Soudées Part 1 2. Cinq Portes Soudées Part 2 3. Music from the film Des autres terres souples Part 4 Das fünfte Studioalbum (1984) des französischen Experimental- / Performance-Duos Etant Donnes "Cinq Portes Soudées" erscheint erstmalig als CD im Digipack-Format und mit Bonustrack auf Klanggalerie. 1980 in Grenoble von den beiden Brüdern Eric und Marc Hurtado ins Leben gerufen, legte das nach einem Werk des französisch-amerikanischen Dadaisten und Surrealisten Marcel Duchamp benannte Experimental- / Performance-Duo, das seitdem mit Genregrößen wie Genesis P-Orridge, Alan Vega, Michael Gira, Mark Cunningham und Lydia Lunch zusammenarbeitete, schon ein Jahr später sein Albumdebüt "L‘Opposition Et Les Cases Conjugues Sont Rconcil" vor. "Cinq Portes Soudées", ein zeitlos spannender Mix aus Industrial / Noise, Avantgarde- Klängen und Musique Concrete, war das fünfte Album der Band aus dem Jahr 1984, das ursprünglich auf dem französischen Label Bain Total (unter Leitung von Philippe Fichot von Die Form) nur als Kassette veröffentlicht wurde. Für diese CD-Erstauflage wurde ein langer Bonustrack hinzugefügt, der nicht auf dem Originalalbum enthalten ist ("Music From The Film Des Autres Terres Souples Part 4").	2024	€15.00
ETIENNE, YVAN	Feu	CD	"On Feu (APOSIOPÈSE apo10) there is a very striking long suite called ‘De La Charge’ which is like having your head inserted in the centre of a lengthy electrical discharge, making your hair stand on end with its wild tendrils of direct current, and threatening to clean out your pores once and for all with its vibrant force." [The sound projector] "Yvan Etienne is active as a sound experimenter interested in issues surrounding site-specific audio installations and as a composer proposing weighty reflections on perception and the physicality of sounds in space. Etienne has not been lacking for collaborative work in recent years, undertaking projects and performance with the likes of Phill Niblock, Yann Gourdon, Richard Glover, Brice Jeannin, Patrice Grente, Julien Ottavi, Robert Poss, Paul Panhuysen, Marie and Verry Joachim Montessuis, to name a few, as well as acting as curator and director of the Ohcetecho aux Presses Du Réel collection. For the three tracks of his first solo album Etienne manipulates various field recordings, a Serge modular synthesizer and a hurdy-gurdy (whether ancient or modern is not known). The result is a sound simultaneously fluffy yet stinging, replete with ambient noise, drones and sparse sequences that feel grainy and menacing, hovering somewhere between organic and inorganic. The impressive scores are very dense and layered, building to a crescendo that is harmonious and addictive, despite the fixity of the narration. Strongly iterative, immersive and resonant, the work reflects a keen sense of spatiality and dynamics. The listening is pleasant but never too conciliatory, favoring moods that are rather spacey and sidereal, infused with vintage synths, tools made popular in the mid-seventies by artists such as Frank Zappa, Jon Hassell, Sonic Boom, Richie Hawtin and Vince Clarke that have now achieved “cult” status among fans of modular analogue gear." [Neural] Composed, recorded and mixed by Yvan Etienne : Serge Modular, Electronics, Field recordings, Hurdy gurdy. Recorded at "2 princesses" & EMS/Stockholm. Produced by Aposiopèse, 2014. Cd. Aposiopèse_10. Artwork by Claire Willemann. Layout + Lettering by Nicolas Bardey. Release page : www.aposiopese.com/pages/feu_y_e.html Artist website : wyy.free.fr https://yvanetienne.bandcamp.com/album/feu https://label-aposiopese.bandcamp.com/album/feu	2014	€12.00
EVAPORI	Dia-Logos	LP	For nearly two decades Oliver Peters has been working as Evapori, with releases on Entr'acte, Walter Ulbricht Schallfolien, 1000füssler as well on his own now defunct Antiinformation imprint he used to run with his close collaborator Nicolas Wiese since the early 2000's. Following his highly acclaimed Kárka LP (Walter Ulbricht, 2018), Dia-Logos... marks Evapori's 4th full-length album, on which Peters explores and busts the boundaries between concrete music, sound poetry and contemporary classical music. Involved in the creation of this album were his fellow artists Martin Lau, Peter Schlewinski, Markus Wettstein as well as his longtime co-conspirator Ditterich von Euler Donnersperg. Oliver Peters is living and working north of Hamburg. All music written by Oliver Peters 2014-2019, mastered by Giuseppe Ielasi, artwork by Nicolas Wiese. Released in an edition of 300 copies on black vinyl, including download-code. https://fragmentfactory.bandcamp.com/album/dia-logos-i-dia-logos-ii-dia-logos-i-ii-conclusion-imitation	2020	€18.00
EVIDENCE	Iris	CD & DVD	EVIDENCE ist der Projektname eines Duos von SCOTT SMALLWOOD und STEPHAN MOORE, dies die zweite Veröffentlichung mit 11 Stücken, die auf der DVD von verschiedenen Videokünstlern visuell "begleitet" wurden. Auf "Iris" dominieren flächige und loopige Arrangements, die wohl grösstenteils auf Feldaufnahmen basieren. Es ergeben sich mitunter rhythmische Muster, dröhnminimalistische (Anti)-Statik fusioniert mit field recordings... "Iris, the second CD release from the duo Evidence (Stephan Moore and Scott Smallwood) on the Deep Listening label, is also their first video release. The DVD has the same sonic material as the music on the CD, but it features video pieces by the duo's favorite live-video performers, including Benton-C Bainbridge, Betsey Biggs, Fi$h2000, Madeleine Gallagher, Dawn Haleta, David Lublin, Jonathan Lee Marcus, Olivia Robinson, skfl, Diana Reed Slattery, Jack Turner and Walter Wright. These pieces emphasize the spontaneity of the artists' live performances, the practice of using 'found' materials, and suggest the emergence of a regional aesthetic stemming from the recent hotbed of media performance centered around Troy, New York. Stephan Moore is a composer, improviser, audio artist, sound designer and software programmer from Marquette, Michigan, currently based in New York City. His work is grounded in the collection and investigation of environmental sound recordings and a fascination with the perception and properties of acoustic environments. Scott Smallwood deals with real and abstracted soundscapes based on a practice of listening, improvisation, and phonography. Ranging from sonic photographs, studio compositions, instrumental pieces, and improvisations, the resulting pieces are often textural, always mindful of space and subtlety." [lable info] www.deeplistening.org	2007	€18.00
EXIT IN GREY	Nowadays Warm	CD-R	"Reissue of the very first album of EIG, originally released in carved wooden box, limited to 10 copies. Classical guitar drone ambient, beautiful and melancholic. Similar artists: Troum, Aidan Baker, True Colour Of Blood, etc." [Zhezelobeton]	2006	€9.00
EXPO 70 (EXPO SEVENTY)	Kinetic Tones	LP	Kinetic Tones front“Laced with drones, heavy and leaden as cinder block bunkers, and shot through with a cosmic strain of psychedelia that unwinds as much as unravels the soul.” – Raven Sings The Blues 500 copies on 140g bronze vinyl, housed in a 100% sustainable card sleeve. An additional 20 test pressing copies on black vinyl, housed in hand-crafted sleeves with alternative artwork, were available exclusively on this website. Both editions come with a free download code. Tracklist: A1 – Static Harmonic Pendulum (10:32) A2 – Eidetic Memory (07:56) B1 – Lucid Landscapes (07:50) B2 – Ascensions from Dusk (12:34) The Artist: One of Drone’s most prolific artists, Justin Wright aka Expo ’70 can look back on an impressive discography counting more than 40 albums since 2003, which have undoubtedly influenced many other musicians in the Experimental/Psychedelic/Drone community and attracted a huge followership in the scene. This has resulted in extensive touring, the last one through 11 countries in Europe, and several live releases. Now Expo ’70 returns with a brand-new studio album, showcasing his trademark organic guitar drones that propel the listener ever deeper (or higher?) into other states of consciousness. Kinetic Tones was recorded all to analog reel-to-reel with no over-dubs, which gives the whole album an even more personal and intimate feel. The album spans over four tracks that range from minimalist Drone over spooky Psychedelia to harmonic and beautiful soundscapes, reaching a total running time of just under 40 minutes. The Animal: Flores Hawk-Eagle (Nisaetus floris) Sumatra orangutan Expo ’70 dedicates his release to the critically endangered Flores hawk-eagle. Due to ongoing habitat loss within its small range across the Indonesian forests of Flores, Lombok, and Sumbawa, capture for the cage bird trade, and persecution due to its habit of taking chickens, the Flores hawk-eagle is evaluated as critically endangered on the IUCN Red List of Threatened Species. It is estimated that less than 100 pairs remain. All profits will be donated to the EDGE of Existence bird conservation project to finance much-needed research to establish population size and ecological requirements, and education of local people to halt persecution.	2015	€20.00
EXPORTION	Phantom Line	mCD-R	one more japanese artist in the taâlem roster! exportion was formed in 2008 by videographer/painter yuki izumi and sound artist takahisa hirao who was already a member of nature of dislocation (with hiroki sasajima) whom we released a 3"cd-r in 2009. they take an audio-visual approach through recordings and live performance, incorporating environmental sounds, human voice and soundscapes, as well as painting, video and photography. for a few years now they've been more and more collaborating with other artists from diverse visual and musical backgrounds. "phantom line", preceeded by a shorter prologue, is a beautiful 18min track melting natural sounds and refined soundscapes. https://taalem.bandcamp.com/album/phantom-line-alm-120	2018	€5.00
EYELESS IN GAZA	Skeletal Framework (The Cherry Red Recordings 1981-1986)	5 x CD BOX	• The complete Eyeless In Gaza Cherry Red recordings, compiled and curated by Martyn Bates and Pete Becker. • 5CD clamshell box set featuring sleevenotes and extensive song-by-song reminisces by Martyn Bates. • Their entire 1981-1986 output for the label re-worked into five thematic suites by the band, bringing new life and light to familiar and much-loved material. • Includes the classics ‘Invisibility’, ‘Veil Like Calm’, Kodak Ghosts Run Amok’, ‘New Risen’ and many more. • A brilliant introduction for the curious and a fascinating re-visit for long-term fans. During the first half of the 1980s, few artists cut a path as individual and self-contained as Eyeless In Gaza. Over six albums and several classic singles, the duo followed their muse in multiple different directions at once, unrestrained by any desire to fit in with whatever was going on around them. Bursts of primal electronica sat comfortably alongside reflective ballads and lo-fi recordings and polished productions were equally valued, all of it pulled together by Martyn Bates’ unmistakable vocals and a singular, minimalist approach to songwriting. Curated by Eyeless In Gaza, and accompanied by Martyn Bates’ song-by-song reflections on their work, ‘Skeletal Framework’ presents the band’s entire Cherry Red output re-cast as five themed suites (or perhaps even playlists), each reflecting one of their many sides. The group’s best-known work sits comfortably alongside deeper album cuts and rarities with interesting results, as the duo guide us back and forth across recordings spanning almost six years of one of Cherry Red’s most distinctive artists. Track Listing: DISC ONE VOLUME ONE: LOOKING DAGGERS (ROCK and RHYTHMIC) 1 Looking Daggers 2 Skeletal Framework 3 Half Light 4 September Hills 5 The Feelings Mutual 6 In Your Painting 7 Fixation 8 Continual 9 Scale Amiss 10 Faceless 11 The Decoration 12 Voice From The Tracks 13 Whitewash 14 True Colour 15 Out From The Day-To-Day 16 Plague Of Years 17 Taking Steps (Original Version) 18 A Keepsake 19 From A To B 20 Soul On Thin Ice 21 Seven Years 22 Knives Replace Air DISC TWO VOLUME TWO: ROSE PETAL KNOT (POP TUNES etc) 1 Others 2 No Perfect Stranger 3 Twilight 4 One By One 5 Sweet Life Longer 6 Everpresent 7 Two 8 China Blue Vision 9 New Love Here 10 Speech Rapid Fire 11 Changing Stations 12 Sun Bursts In 13 Point You 14 Clear Cut Apparently 15 Veil Like Calm 16 Welcome Now 17 New Risen 18 Pencil Sketch 19 Picture The Day 20 Rose Petal Knot 21 Invisibility 22 Pearl And Pale 23 Keynote Inertia 24 Taking Steps 25 Kodak Ghosts Run Amok DISC THREE VOLUME THREE: YOUR RICH SKY (Approximate BALLADS and SIMILAR) 1 Drumming The Beating Heart 2 Lie Still, Sleep Long 3 See Red 4 Bright Play Of Eyes 5 Corner Of Dusk 6 Before You Go 7 At Arms Length 8 Catch Me 9 No Noise 10 Evening Music 11 Every Which Way 12 Stealing Autumn 13 My Last, Lost Melody 14 Far Lands Blue 15 Your Rich Sky 16 Only Whispers 17 Leaves Are Dancing 18 Back From The Rains 19 Between These Dreams 20 Flight Of Swallows 21 Catch Me, Count Me, Catch Fire DISC FOUR VOLUME FOUR: STILL AIR (ATMOS-SONGS) 1 Light Sliding 2 Dusky Ruth 3 Ill Wind Blows 4 The Eyes Of Beautiful Losers 5 Inky Blue Sky 6 Throw A Shadow 7 Tall And White Nettles 8 Sixth Sense 9 Lights Of April 10 Scent Of Evening Air 11 Transience Blues 12 Through Eastfields 13 Lilt Of Music 14 To Ellen 15 Tell 16 Still Air 17 She Moves Thru The Fair 18 Blue Distance DISC FIVE VOLUME 5: DREAMING AT RAIN (EXPERIMENTS and IMPROV) 1 Big Clipper Ship 2 Dreaming At Rain 3 Pale Saints 4 Lies Of Love 5 To Steven 6 John Of Patmos 7 Avenue With Trees 8 Sun Like Gold 9 Sheer Cliffs 10 Letters To She 11 Jane Dancing 12 Three Kittens 13 To Elizabeth S 14 Falling Leaf/Fading Flower;Goodbye To Summer 15 Warm Breath Soft And Slow 16 You Frighten	2022	€49.50
FAUST	j US t (Just us)	LP & CD	"Die Hamburger Krautrock-Pioniere mit einem Überraschungspaket aus Avantgarde, Dada und Folk. Die Hamburger Band Faust gehört zu den großen Namen, die der Krautrock der 1970er-Jahre hervorgebracht hat. Als Jean-Hervé Péron und Zappi Diermaier 1971 ihr Debütalbum vorlegten, wollte das in Deutschland niemand hören, im Ausland jedoch verkauften sich "The Faust Tapes" über 100.000-mal. "There is no group more mythical than Faust", schwärmte der englische Musiker und Krautrock-Kenner Julian Cope Jahrzehnte später. Mit "Just Us" setzen Faust ihren musikalischen Weg fort. Während Diermaier seinem Handwerk - Schlagzeug und Perkussion - treu bleibt, integriert Peron allerhand unübliche Klangquellen in sein Bassspiel, verschiedene Streichinstrumente, Klavier und sogar eine Nähmaschine als Metronom. Tracks wie "Nur nous" und "Ich bin ein Pavian" zeigen, dass Faust nichts von ihrer Vorliebe für Avantgarde und Dadaismus verloren haben. Ausflüge ins folkloristische Gefilde ("Cavaqui-ho", "Gammes") runden das wahrhaft faustische Überraschungspaket ab. // j US t - pronounced "Just Us" - is the new album from legendary Hamburg band Faust. Founder members Jean-Herve Peron and Zappi Diermaier have laid down twelve musical foundations, inviting the whole world to use them as a base on which to build their own music. The tracks presented by Peron and Diermaier are clearly, intrinsically typical of Faust in their own right, yet offer enough space for completely different works to develop. Which is exactly what they hope will happen. Whilst Diermaier largely remains true to his habitual handiwork - drums and percussion - Peron, as we might expect, incorporates all manner of unusual sonic sources alongside his bass, various string instruments and piano, even using a sewing machine as a metronome. Tracks like "nur nous" and "ich bin ein pavian" show that Faust have lost none of their predilection for avantgarde Dadaism and improvisation. Peron and Diermaier actually surprise us with folkloristic excursions ("cavaquinho", "gammes"). In short, there is something for everyone to work with here. Peron and Diermaier await the results with bated breath. Faust will follow the same principle on the accompanying tour by inviting local artists to collaborate with them on stage." [label info] www.bureau-b.com "Faust’s intentions have never been easy to discern. Over their 40-plus years of morphing, discontinuous existence, they’ve been so good at dodging expectations and confounding analysis that even when they’re playing it straight, you wonder if something else is going on. So when the press sheet for j US t (pronounced "just us") claims the band is "inviting the whole world to use [the album] as a base on which to build their own music," it’s hard not to get suspicious. Is this a decoy? Do Jean-Hervé Peron and Zappi Diermaier want you to imagine other music so you won’t focus on theirs? Is it simply a way to say "if you don’t like it, make your own"? Perhaps Faust truly are earnest about wanting this album to inspire public collaboration. But the idea does point to something that’s always been intriguing about Faust’s music: it’s often just as much about what they aren’t playing as what they are. Their work is full of implications and innuendos, spaces waiting to be filled in. j US t doesn’t necessarily have more of that than most Faust albums, but implication does seem to be a main theme here. This is music in which every note suggests many more possibilities. j US t begins by proclaiming more than intimating, and in this way it bears an uncanny resemblance to the last Faust effort, 2011’s stellar Something Dirty. That record began with three bold, practically rocking tunes, and so does this one. Based around simple riffs and looping beats, these songs are like free-form post-rock, sturdy in their rhythms but opened-ended in their direction. And despite how well-defined the base of each track is, there’s also tantalizing space in each one. Take "80Hz", whose simple two-note bass figure flows beautifully with the well-timed accents of Diermaier’s percussion and Peron’s sonic grab bag. At times it dips to near-silence, in other places it crests to frantic peaks, but throughout it maintains a tension that compels attention. The balance between action and suggestion tips more toward the latter for the rest of j US t, in ways both fascinating and frustrating. Some songs maintain the attraction of anticipation, hinting at where they might go without ever fully abandoning other options. But others feel more flat than ripe, not so much flirting with tense silence as drifting into empty inertia. One in particular, the seven-minute "Palpitations", is mostly limp. Its intermittent percussion and electronic squiggles sound more random than impulsive, making it the only instance on the album where I find myself wishing I could already hear other bands filling it in. It takes a few tracks to recover from that mid-album drop, but Faust manage to rebound on closer "Ich Sitze Immer Noch", whose slow, rising lope sounds like a sunny homage to Spiderland-era Slint. Like the bulk of j US t, it offers a lot worth hearing and just as much worth daydreaming about—in other words, it achieves the band's stated goals. Maybe Peron and Diermaier really did mean what they said." [Marc Masters / PITCHFORK]	2014	€22.00
FAVARON, GIANLUCA / ANACLETO VITOLO	Zolfo	CD	"Zolfo" is born by the collaboration between Gianluca Favaron and Anacleto Vitolo. Both involved in many projects and music collaborations - Favaron with Corrado Altieri, Deison and in groups like Lasik Surgery, Maribor, Zbeen and Under The Snow; Vitolo with Doublebass player Francesco Galatro, Viola player Michela Coppola, Domenico Stellavatecascio (Internos) and many other. The album was composed, recorded, and mixed between January and May 2016 and is a mix of several music elements and techniques, such as tape loops, cymbals, microphonic works and live electronic processing. The result is a combination of musique concrète, noise and drone music. Gianluca Favaron: As electroacoustic musician, his work focuses on the processing of concrete sounds using software made on purpose. Field-recordings, drones: an approach that uses different music languages, to elaborate, merge or transform sounds made by everyday objects into something different, both taking them out of context and/or processing and modifying them with various effects. . In 2015 he has released the CD albums "Entretien" on 13/Silentes and "Forget About Any Non-Gray" on MFU /Concrete Anacleto Vitolo: Anacleto Vitolo A.K.A. AV-K / K.lust / Kletus.K part of several collectives such as X(i)NEON, Internos and Algebra del Bisogno, born August 2, 1985 in Battipaglia (SA), Italy.In 2010 and 2014 took part in “FLUSSI” festival sharing the same stage with some of the most important musicians of the contemporary electronic scene as Murcof, Thomas Fehlmann, Vladislav Delay, Retina.it, Emanuele Errante, Mokira, Mount Kimbie, etc. In 2013 signs a contract as Publishing Artist with FatCat. In 2015 takes part to MiRA festival in Barcelona with Andy Stott, Ben Frost, Richard Devine, Prefuse 73, Nosaj Thing and many others. He's the CO-Director of Manyfeetunder label, alongside with Vincenzo Nava ( dramavinile, UHVA) and Cogwheel Press Rec. Active with a lot of collaborations and releases. credits mfu/c 010 \| sps1616 Gianluca Favaron : tapes, objects, microphones, analog and digital effects Anacleto Vitolo: live electronics, cymbals, laptop, objects "Crispy, crunchy, and crackly ~ these are the sounds of Zolfo. In real life, we hear such sounds in crumpling paper and leaves underfoot. In the electronic realm, they surface in cellphones, computers and amplifier feedback. Blend organic and electronic, as Gianluca Favaron and Anacleto Vitolo have done, and one will hear a padded melange, thicker than the timbres one is accustomed to hearing outside of a factory setting. So yes, that may be a church bell in the title track, stuttered and looped ~ but it may be the imitation of a church bell, the mind struggling to define and categorize what it is hearing. To prepare this album, the artists used a wide variety of sources, from cymbals to laptops, along with the vague term “objects”. Favaron in particular is enamored with decontextualization. Just because something sounds like a singing bowl (“Infrasound”) doesn’t mean it is a singing bowl; and if it is, Favaron and Vitolo have found a new purpose for its thrum. And all the while, drones and hums intrude, eager to colonize the sonic field, while glitches and pops decorate the drones like sparkling debris in a raging river. This is the thicker, busier end of the electroacoustic spectrum, a genre that lacks distinguishing tags, simply because there is so little of it. I call it particle accelerator music (PAM), as it sounds like agitated atoms. “Oblivion” highlights a scuttling sound, like that of the crablike creature racing across the floor in the medical lab of Aliens. Because the sonic field is constantly in motion, it’s hard to get a handle on the heart of these compositions; one drinks them like carbonation. On “Fold-in”, a welcome warmth is added by bells and horns, although the title makes one think of an egg dropped in batter. Thankfully, the metaphor fits. “Reflection” seems to contain power tools, sirens and broken glass, intimating a shattered mirror, or by extension, a shattered sense of self. Only in the album’s closing seconds does humanity make an appearance: pleasant banter and laughter, the lab coats packed away, the atoms free to collide, no longer performing under watchful eyes." [Richard Allen/A closer listen] https://manyfeetunderconcrete.bandcamp.com/album/zolfo	2016	€10.00
FEAR DROP	No. 10	mag & CD	As good as always, this french mag for atmospheric experimental & electronic music, each issue comes with a free CD with usually EXCLUSIVE material of all featured artists ! in the mag: articles & interviews : THOMAS KÖNER, CHRIS WATSON, VEN VOISEY, SAVAGE REPUBLIC, CONTAGIOUS ORGASM, JOE COLLEY, OREN AMBARCHI, SQUAREMETER, ANDREY KIRITCHENKO, etc etc. the CD: KÖNER, CONTAGIOUS ORGASM, SCANNER, JOE COLLEY; and and.. french language.	2003	€9.00
FELIX KUBIN & MARIOLA BRILLOWSKA	Morgenröte	7inch + comic art	Mariola Brillowska and Felix Kubin “Morgenröte” (b/w Aus Gold modelliert die Nacht) 7″ vinyl. The first release in Psychofon Records' 'Forgotten Pearls' series. Available in two versions. The standard edition is pressed on turquoise vinyl, 100 hand-numbered copies. The collector's edition is pressed on blue vinyl, limited to 50 hand-numbered copies. Both come packaged in a special large-sized package (20.5 x 43cm!) and include a special promo comic book, a companion to Morgenröte! Things are looking quite grim for the future of creation. In the 71st century, sex is practiced only by machine. Males are a dying species. The few surviving specimens serve as pure-blooded sperm donors. If they refuse, they are castrated. Violence is en Vogue. Electronic surveillance insects spout sadistic slogans from the Marquis de Sade. Hamburg-based artists Mariola Brillowska and Felix Kubin have created a gloomy vision of a complex anti-utopian world. Sarcastically they comment on the Western world: Consumption with interpersonal coldness, the glorification of violence and the transfiguration of rationale. Mankind, they suggest, has not learned much since the upright walk, and our laboriously developed moral values have not prevented us from waging wars and devastating the earth. All signs are pointing towards some final catastrophe. The survivors vegetate on the synthetic “Planetoid Nietzsche” in a fascist matriarchy. At the head of the totalitarian regime is the x-cloned Nobel laureate Madame Curie. The sciences dominate nature, and humanistic values of the 20th century have become obsolete. Emotions and physical touch are considered taboo. Everything depends on the outcome of the hopeless actions of some dispersed terrorists in the seventy-first century. By kidnapping the president, they hope to bring down the totalitarian regime and break the chains of sterility. However, their tracks are being followed with deadly instinct by the unscrupulous Madame Curie devotees Linda and Lorna. Mörgenröte is a short episode from the bizarre world of the two comic book heroines, Linda and Lorna. Shaped by Mariola Brillowska’s distinctive drawing style, an iridescent flicker stretches throughout the film, bringing all objects to pulsating life. Together with Felix Kubin’s experimental setting, a fruitful symbiosis has been created. Aus Gold modelliert die Nacht (B side) is previously unpublished and is part of the unfinished fragmentary story of Linda and Lorna. https://www.psychofonrecords.com/product/mariola-brillowska-felix-kubin-morgenrote/	2018	€19.50
FENNESZ	17.02.12	BOX	"LTD box set 500 copies (gatefold 2LP, CD of the album, DVD, 12 p. photo book) Christian Fennesz is an Austrian electronic musician, active since the late nineties, and influenced by artists like the Fripp & Eno of the 1970s and guitar-synth pioneer Chuck Hammer. Fennesz uses guitar and laptops "to make multilayered compositions that blend melody and conventional musical instruments with harsh, irregular glitch-influenced sounds and washes of white noise." Over the years, Fennesz has played and collaborated with a number of artists including Mike Patton, Jim O'Rourke, Ryuichi Sakamoto, Keith Rowe, Peter Rehberg, Mark Linkous (Sparklehorse) and David Sylvain. In 2012 Fennesz also wrote the OST to the independent Austrian film, Aun, directed by Edgar Honetschläger, and based on the writings of Claude Levi-Strauss. On this double LP Fennesz can be heard performing to a live audience at a concert held at the Museo Marini in Florence, Italy in February 2012. The deluxe box set version includes, in addition to the 2LP, a CD of the performance, a 12 page photographic book, and a DVD featuring a 1927 silent film by German filmmaker Walter Ruttmann Berlin called Die Sinfonie der Großstadt (Symphony of a Great City)." [label info]	2013	€111.00
	17.02.12	do-LP	"Christian Fennesz is an Austrian electronic musician, active since the late nineties, and influenced by artists like the Fripp & Eno of the 1970s and guitar-synth pioneer Chuck Hammer. Fennesz uses guitar and laptops "to make multilayered compositions that blend melody and conventional musical instruments with harsh, irregular glitch-influenced sounds and washes of white noise." Over the years, Fennesz has played and collaborated with a number of artists including Mike Patton, Jim O'Rourke, Ryuichi Sakamoto, Keith Rowe, Peter Rehberg, Mark Linkous (Sparklehorse) and David Sylvain. On this double LP Fennesz can be heard performing to a live audience at a concert held at the Museo Marini in Florence, Italy in February 2012, backed by the images of the 1927 silent film by German filmmaker Walter Ruttmann Berlin called Die Sinfonie der Großstadt (Symphony of a Great City)." [label info]	2013	€29.00
FERRARI, LUC	Atelier de Liberation de la Musique	LP	"Alga Marghen proudly presents Luc Ferrari's Atelier De Liberation De La Musique, a collective he created together with Martin Davorin Jagodic, Philippe Besombes and Alain Petit in 1975 for a series of performances at the Galliera Museum in Paris. It was in those years that Luc Ferrari investigated open forms and created some of the most experimental and elusive works of his entire catalogue. "Exercices d'improvisation", first recorded by Brunhild Ferrari with GOL, issued on PLANAM in 2010; but specially "Ou donc est-t-on?", a very complex piece soon to be documented on alga marghen including both "Dance", issued on alga marghen on the occasion of the presentations at Centre Pompidou in 2009 and "Ephemere", issued on CD by alga marghen in 2010, as well as the "Labyrinthe de la violence", an audio-visual permanent labyrinth for which Ferrari created four fantastic electronic music pieces soon to be published on Alga Marghen. After these experiences the composer decided to discontinue these open practices for a more controlled work in the studio. And within the "Labyrinthe de la violence" installation Luc Ferrari conceived a series of electro-visual concerts to be performed by the newly created Atelier de Libération de la Musique. The collective included some of the most creative artists of the time: together with Luc Ferrari playing the electric organ we find on electric piano Martin Davoric Jagodic (whose masterpiece of electronic music titled "Tempo Furioso" was issued on Cramps in Italy that same year), on synthesizer Philippe Besombes and on sax, flute and clarinet Alain Petit. These four artists met in February and March of 1975, rehearsing for a series of concerts to take place within the audio-visual labyrinth. It is the previously unheard recordings from these wild rehearsals which make up this incredible LP. The sound of Atelier de Libération de la Musique is a thrilling and overwhelming ride. Rattling, difficult polyrhythms play against droning, pulsing and simmering sonorities. These recordings are human and open, wild and incredibly ahead of their time." [label info]	2018	€25.00
FIEBIG, GERALD	Pferseer Klangtrilogie	CD-R	"ACRS 1003: CD-R in transparent jewel case Given that this album is part of the Rollator Series, dedicated to noise art, it starts with a surprisingly un-noisy performance of sound artist Gerald Fiebig reciting a poem. In the following tracks, though, meaning is reduced to noise as the recording of the poem is cut into tiny fragments. These are used in two 15-minute improvisations along with a miked-up violin bow and synthesizer drones which Fiebig uses to “play” the sculptures and paintings he found in the artists’s studios where these performances were recorded. The performance triptych documented here was conceived for a project in which artists opened their studios in Pfersee, a city district in the artist’s neighbourhood in Augsburg (Germany), to the public. Performing in three different studios, Fiebig moved from “Word” (the poetry reading) to “Noise” (voice samples plus amplified violin bow and sculptures by Günther Posch) to “Tone” (voice samples plus violin bow samples plus synthesizer and paintings by Gerti Papesch. Using a technique pioneered on the album “Hörbar in Farbe” (http://attenuationcircuit.wix.com/attenuation-circuit#!__hoerbar-in-farbe), the colours and shapes of the abstract paintings were used as a “score” for creating drones with a synthesizer and KAOSS pad. Thus, the album is a gradual development away from language and meaning (signal) through fragmentation (noise) to a new kind of structure, somewhere on the edge between noise and (musical) signal. To give the listener an impression of Gerti Papesch’s paintings that were used for creating the final part, one of them is reproduced on the cover of the album." [label info] www.attenuationcircuit.de	2013	€8.00
	Gasworks	CD	„Gasworks“ by sonic artist Gerald Fiebig collects his sound installations, radiophonic compositions, and live performances relating to the former gasworks in Augsburg-Oberhausen. They were created between 2010 and 2016, some in collaboration with colleagues EMERGE and Christian Z. Müller. Among the compositional materials of the album are processed recordings of the sounds of gas and industrial machinery, stories told by a former gasworks employee, and live improvisations in the echo chamber of the large gas tank. Liner notes by Gerald Fiebig: Cities phosphorescent on the riverbank, industry’s glowing piles waiting beneath the smoke trails W.G. Sebald, After Nature The former gasworks in Augsburg-Oberhausen (not to be confused with the better-known Gasometer in the city of Oberhausen in the Ruhr area) have been a subject of my artistic practice for more than a decade. This album collects all the works related to the gasworks except a site-specific installation version of Echoes of Industry that did not lend itself to documentation as a recording. Opened in 1915, the gasworks are a testimony to the spirit of what one could call the ‚heroic‘ age of industrialisation. The architecture of the ovens and machine halls features stylistic quotes from the façade of Augsburg’s renaissance city hall as well as from cathedrals. Technological progress is presented as both raison d’état and religion. This stands in stark contrast to the extremely hard, dangerous and – for a very long time – poorly paid working conditions described by long-time gasworks employee Johann Artner in Nach der Industrie / After Industry. From our contemporary viewpoint, informed by climate change and the impending end of fossil resources, the optimism expressed in the beautiful architecture of the gasworks also appears less than justified for ecological reasons: until 1968, the gasworks actually produced gas by burning coal in large ovens. They then continued to operate as a distributing station for fossil gas from transcontinental pipelines into the local network. Operations ceased in 2001. After almost two decades of merely intermittent use for festivals and other events, 2019 saw the re-opening of the gasworks area as an arts centre featuring a theatre as well as artists‘ studios, rehearsal rooms, and office spaces for creative businesses. This seems to imply that it has now entered the ‚post-industrial‘ age where clean, almost immaterial computer screens have replaced the factory floors once so dirty and dangerous. In fact, there is no such thing as a ‚post-industrial‘ age, just globalised capitalism increasingly outsourcing the dirty and dangerous work (manufacturing the microprocessors for the ‚post-industrial‘ devices, for example) to poorer countries. And of course industrial manufacturing still does form an important part of economies of the global North, even if the leading role in ideological narratives of growth and prosperity has been taken over by the ‚post-industrial‘ businesses. Both post-industrial, which is partly based on processed sounds of a metal tool factory quite close to the gasworks, and Echoes of Industry can be heard as reminders of these ambivalences. Echoes of Industry brings the space of the gasworks into contact with the sounds of textile machines. This is a reference to the fact that the decline of the gasworks as an industrial site paralleled that of Augsburg’s once-thriving textile industry. It also alludes to the role of the textile industry as one of the most prominent examples for the exploitative use of cheap offshore labour. But my interest in the gasworks is not only due to its historical ‚echoes,‘ documented so well by the committed friends of the gasworks, or Gaswerksfreunde Augsburg. As an artist working with sound, I am constantly fascinated by the literal echoes inside the large metal gas tank, 84 metres high and 45 metres in diameter. This unique sound effect is at the heart of Echoes of Industry, as well as the two live performances I did inside this space in 2016 under the title Ohrentauchen mit Echolot / Ear-diving with Echo Sounding. Doing this live improvisation in which acoustic sound-generators, from hammers to whistles, interacted with the physical features of the room as well as with its resonant properties, I felt it brought to completion the work I had begun in 2007 with a tour of the gasworks, guided by members of Gaswerksfreunde Augsburg, and the interview with the late Johann Artner. This album is dedicated to his memory. Excerpts: 1. post-industrial Excerpt of a sound installation in the so-called Apparatehaus during Grenzenlos festival, 2014 Sounds of hissing gas from a kitchen stove, processed by Gerald Fiebig, are combined with field recordings from a nearby factory in a building even older than the gasworks, processed by EMERGE. Composed & realised by Gerald Fiebig & EMERGE Commissioned by Christa Spaniol (Künstlergruppe 38/40) 2. Ohrentauchen mit Echolot Excerpts from performances in the large Gaskessel during Asche zu Farbgut festival, 2016 Various unamplified tools, toys, and instruments, as well as Gerald Fiebig’s voice and body, were used to create sounds inside the 84-metre high metal chamber. This included hitting the metal surfaces themselves. The performance took place in the centre of the chamber, with the audience walking around the performer. Live sound mix: www.yetiplanet.de Commissioned by Christa Spaniol (Künstlergruppe 38/40) 3. Nach der Industrie Sound installation at Lange Kunstnacht festival, 2010 (reworked version) The late Johann Artner worked at the gasworks from 1947 to 1989. He was interviewed by Gerald Fiebig in 2007. Excerpts from more than two hours of recorded material were arranged and combined with processed sounds of gas from a kitchen stove. A transcript and English translation of Johann Artner’s narration can be found at www.geraldfiebig.net/gasworks.pdf. Narration: Johann Artner Commissioned by Elke Seidel (Stadt Augsburg – Kulturamt) 4. Echoes of Industry Radio piece for Radioatelier on Radio Vltava, Czech Republic, first broadcast on 29 May, 2015 Two of Augsburg’s major industrial monuments meet in this piece: sampled recordings of textile machines (heard in part 1 of the piece) from the State Textile and Industry Museum Augsburg are played back inside the large Gaskessel. As they are transformed by the echoes of the room, a saxophone takes up an improvisational interaction with both the samples and the echoes. Part 2 of the piece is composed from live recordings of these improvisations in the gas tank. As the ‚remembered‘ machine sounds of industry become increasingly blurred, the theremin in part 3 gestures at the ambivalent perspective of a disembodied, ‚virtual‘ future of digital production. Christian Z. Müller: saxophones, theremin Gerald Fiebig: sampler, field recordings, processing Composed and realised by Gerald Fiebig & Christian Z. Müller Commissioned by Michal Rataj (Radio Vltava) 5 Tracks (68′18″) CD (500 copies) Credits: Composed and realised by Gerald Fiebig except where noted Audio mastering: Tomislav Bucalic and Tobias Schmitt Design: Martina Vodermayer – www.martavictor.design Photography: Sigrun Lenk, Martina Vodermayer, Gaswerksfreunde Augsburg Thanks to: Tobias Brenner, Oliver Frühschütz (Gaswerksfreunde Augsburg); Julia Quandt (Museen und Kunstsammlungen Augsburg); Wolfgang Riß, Annette Trass (Stadtwerke Augsburg); and to Jutta Weber, Manuel Schedl, Bonnie Lee Turner, and Tine Klink. Archival photographs are used by kind permission of Gaswerksfreunde Augsburg. www.gaswerk-augsburg.de The completion of this album was made possible by a residency at ELEVEN artspace, Starzach-Börstingen, Germany, in August 2018. The production was generously supported by Arno Buchegger Stiftung, Augsburg, and Kurt und Felicitas Viermetz Stiftung, Augsburg. www.gruenrekorder.de	2019	€13.00
FIRE IN THE HEAD	As the nest burns	CD	Exzellenter Trauma-Harsh-Noise von diesem neuen US-Projekt mit surrealen und manischen Qualitäten, verstörend veränderte Stimmen und Sounds überall, extrem düster & psychotisierend! Intensiv ! Lim. 400 “Fire In The Head” is probably one of the garish artists of “noise/power electronics”, representing the famous school of the USA. The project’s author Michael Page previously participated at live performances of the legendary Giovanni Balistrer’s project SLOGUN, also closely linked to the livery of NY sound terrorists. “As The Nest Burns” is short, but highly hysterical, brutal and dark album of “noise/power electronics” stylistics. Michael Page masterly plays with amplitude of different tracks intension. Slackened, leaden, psychedelic sounds overgrow into the avalanche of terribly aggressive and hysterical noise, gradually flooding back as unusual and uncomfortable sound stream. “As The Nest Burns” is a sort of element of otherworld civilization, starting its sudden extension, transformation and smashing attack. There are many fragments of distorted vocal in this album, making the tracks especially threatful. This is a completely new, reformed attack of USA “power electronics” tradition against the normal and moral world. Do you know what happens as the nest burns??? Then the children burn!!!“ [Written by Lashisha] "As The Nest Burns” is an album about the darkest depths of psychosis, about the delusions and actions over which one has no control when entrenched in a manic state and the nightmares from which some never awaken. It is an album born in the blackest of times, to be listened to in the blackest of times. With this recording F/I/T/H experiments with new arsenal of sounds and techniques adding a heavily psychedelic edge to his mix of noise/power electronics/drone. These are the straight-jacketed screams from the bowels of a mental institution.”[wrten by Michael Page, FIRE IN THE HEAD] www.autarkeia.org	2005	€13.00
FISER, LUBOS	Valerie A Tyden Divu (Valerie and her Week of Wonders)	LP	It has been exactly ten years since Finders Keepers Records first liberated Luboš Fišer’s immaculate soundtrack music for Valerie And Her Week Of Wonders (Valerie A Týden Divu) from the vaults of the Barrandov Studio in Prague. As the inaugural release of an ongoing discography of previously unreleased scores from the hugely creative “Film Miracle” that occurred during and after the Czech New Wave (CNW), this score will always retain a special place in the heart of the label as well as our listeners who consistently request an updated repress of this signi cant vinyl milestone. Having grown in status from an obscure and misunderstood socialist-era art house oddity, via the hands of risqué foreign uff merchants, to nally nd its rightful audience as a bona de surrealist cinematic masterpiece of world class standards, this 1970 lm adaptation of Vítezslav Nezval’s 1935 avant-garde novella (a lm that literally cross-pollinated Max Ernst’s A Week Of Kindness and Lewis Carols Alice In Wonderland) has garnered widespread critical acclaim. Inspiring ongoing generations of visual artists, musicians, writers and lmmakers - all of whom regard this truly individualistic and inimitable surrealist lm poem to be an indelible in uence - Valerie continues to impregnate their daily artistic referential fabric."	2018	€20.00
FIVE ELEMENTS MUSIC / JIM HAYNES / ANDREA MARUTTI	Tri-Ton	CD	"Three drone-centric artists from three different parts of the world... Five Elements Music is a Russian isolationist / ambient project spawned by one of the members of the similarly minded Exit In Grey; Andrea Marutti is an Italian dark ambient practitioner with a number of occultish recordings under the moniker Amon; and Jim Haynes is a Bay Area artist who "rusts things" and also happens to work here at aQuarius. Both Marutti's and Haynes' compositions are responses to the piece made by Five Elements Music. A massive tectonic rumble emerges from the onset of the Russian track, as if the resonant echo from a meteor striking the heart of Siberia were captured through the felling of a million trees. Out of these frequencies, Five Elements Music evolves this sound into a growling dissonance more dialed into those rasping drones that Oren Ambarchi or Birchville Cat Motel might broadcast from time to time. Over the 23 minutes, this track becomes steadily more placid and inviting, eschewing the desolate horror at the beginning for something beautifully introspective. Marutti builds from the bleak horror where Five Elements Music began, producing cavernous hues of black and grey on amorphous clouds of mist and fog. Marutti's work parallels those blackened static movements of Yen Pox and Inade. For Haynes' part, the theatrical cloak and dagger of Thomas Koner's isolationism comes to mind in his response to the Five Elements Music track, albeit constructed from his distressed textures and fluttering shortwave radio manipulation. Easily the most dynamic piece of this triptych, Haynes deftly transitions pools of nocturnal drones into snarling crescendos of volatile motors, turbines, and Kevin Drumm-esque guitar dissonance which morph into an evocative movement of super-slow-motion heartbeat rhythm and radio frequencies detuned into sweeping, ghostly sinewaves, captured from within one of those WWII era bunkers that dot the California coast. Haynes presented a version of this at the San Francisco Museum of Modern Art in a collaborative, expanded cinema piece involving a massive diorama, lots of old scientific gear, a couple of surveillance cameras, and a toy train. Alas, there's little video documentation of that performance, but the audio here works amazingly well on its own." [label info]	2011	€13.00
FJERNLYS	Four (One unearthly Room)	do-CD	"Five years after the last full-time album of Fjernlys, the Leipzig based outfit returns with new recordings. Fjernlys’ attention to detail is typically exquisite here: the looped bowing of a cello provides a droning bassline beneath pitch-bent chimes and melodic pads. Clear homogenic sounds creeping deep organic rhythms with lovely effects have been incorporated in a poetic ambiance guided by brilliant vocals. A collaboration with Peter Bjärgö on vocals for 'The Fervid Flood' intoning a new and inspiring way of recordings and production. FOUR appears to have abandoned tracks that aim to move bodies in favour of ambient songs that aim to move hearts. Atmospheric and sensitive Ambientsongs with accented percussion elements, vibraphone sounds and viola supplements to set the electronic soundscapes into wonderfully concentrated and organic pieces. Swimming beneath Fjernlys' ambient arrangements is a primordial cosmos of sonics: the falling of rain outside a window, the tumble of unknown random oscillations, a whirl of ebow guitars. The hustle and bustle of these sounds ground the grandiose orchestration on the record and give it an abstract sense of the transcendental space. On the second CD are remixes of 4 tracks from the album, revisited by Kammarheit, Peter Bjärgo, S.E.T.I. and Herbst9. Every single interpretation these artists made completes the puzzle of this release to its entire form of One Unearthly Room." [label info] wp.loki-found.de	2015	€15.00
FOX, TERRY	552 Steps through 11 Pairs of Strings	do-LP	Bubbling below the histories of sound-art, fine-art, and avant-garde music, there are a handful of remarkable figures who bridge all three - collapsing the barriers between creative limit, context, location, and aural experience. Of these, Terry Fox long occupied a place of respect and renown for those in the know - among the best of the best, but, within the broader narratives of each discipline, he has never entirely received his due - lingering just out of view, responsible for so much of what followed in his wake. In recent years, the imprint of Edition Telemark has emerged as a definitive voice in boundary breaking territories of sound - issuing releases by the Maciunas Ensemble, Wolf Vostell, Joe Jones, and others, as well as their brilliant recent editions of Ernstalbrecht Stiebler’s Kanon / Torsi and Peter Behrendsen's Nachtflug / Atem Des Windes. As luck with have it, they now turn their gaze to Terry Fox, with the stunning double LP 552 Steps Through 11 Pairs of Strings, drawing on a long lost recording from 1976. Terry Fox emerged from the fertile ground of San Fransisco’s 1960’s and 70’s conceptual art scene, during an era when the dominant institutions of fine-art, seeing it as a backwater, refused to pay California any mind. Unlike his peers Bruce Nauman and John Baldersari, he neither went to NY, nor waited it out - leaving permanently for Europe before the 70’s were through. Fox represents an incongruence link within the history of conceptual practice - both embracing the sculptural materiality of nature, the industrial, and the every day - bridging territories explored by Joseph Beuys with those of Minimalists like Carl Andre, and land artists Walter De Maria, and Robert Smithson, while also recognizing, similarly to Nauman and Baldersari, that material was only a vehicle for an idea. As his practice progressed, Fox increasingly turned toward the performative and the multidimensional possibilities of an object - its ability to occupy space, and generate sound. During the mid 1970’s, years before Ellen Fullman began to build similar instruments which brought her renown, or Alvin Lucier conceived Music on a Long Thin Wire, Fox began to experiment and perform on sculptural objects comprised of extended long strings. Tragically, the artist has remained largely absent from the historic narrative of the practice he helped invent. This is partially a consequence of the private nature of his performance, and the obscurity of his recorded releases, against the timing in which they emerged. Fox is incredibly well represented in the artifacts of sound art - appearing in one of its earliest exhibitions at the Museum Of Conceptual Art in San Francisco during 1971, and on the seminal Airwaves, Sound, Revolutions Per Minute, and Audio By Visual Artists compilations, but recordings of his string works did not begin to emerge until the 1980’s, first on Linkage, issued in 1982 by the Kunstmuseum Luzern's imprint, and then on Berlino / Rallentando, which appeared in 1988. Linkage has long offered an important clue, with it’s earliest working having been recorded in 1975, but, until 552 Steps Through 11 Pairs of Strings - recorded in Fox's San Francisco studio during 1976, nothing from is important period has yet to emerge. 552 Steps Through 11 Pairs of Strings, which, as with most of Terry’s Fox’s works from the 1970’s, draws its ideas from the labyrinth at Chartres Cathedral in France, is the result of a 4½ hour performance where the artist stretched 11 pairs of piano wires of 11 different thicknesses across the floor - creating a giant horizontal harp. The audience was positioned in the dark loft on the floor below - within what became the instrument’s resonant chamber. Fox played the the strings with a soft mallet in one hand and a score - a 34-foot string tied with 552 knots, in the other. Each knot represented a step in the Chartres labyrinth, with the 34 turns indicated by either a piece of wire in a knot (a move to the next longer pair of wires) or a rubber band around a knot (a move to the next shorter pair). The outcome, as it appears on this remarkable double LP, are stunning - a revelation in idea, practice, and sound - an unrecognized precursor to the work of Ellen Fullman and Arnold Dreyblatt. Comprised of four selections from the performance, its presents an resonant world of rhythm and bass - a deep rumbling, which often uncannily recalls the artists most famous work - The Labyrinth Scored For 11 Different Cats. If ever there was an important document from the history of sound practice to emerge, 552 Steps Through 11 Pairs of Strings has got to be it. As seminal as archival releases come - two stunning LPs, including images of the score and instrument, as well as the invitation card to the performance, and texts by Terry Fox and Alan Scarritt. For anyone interested in the histories of sound-art, fine-art, and avant-garde music, this is moment not to be missed.	2017	€35.00
FRANCIS, RICHARD (ESO STEEL)	Together alone, together apart	CD	Tief wummernder microwave / field recording-drone des Neuseeländers RICHARD FRANCIS (aka ESO STEEL), der hier herrlich rauschig & undurchdringbar tönt, v.a. in den mittleren Frequenzbereichen offenbaren sich feinste Details, ein Genuss! Filed under: mysterious drones opening mysterious ways! "Tracks 1 and 2 recorded 2006-2007, track 3 recorded 2003 and previously released on V-A "Audible New Frontiers" CD (Physics Room-Radio NZ). Sound sources: field recordings of indoor and outdoor spaces; handling of fabric, wood and plastic; self noise of home stereo amplifiers, loudspeakers and record players." [label info] "Sound artists like Matt Shoemaker, Loren Chasse, and Steve Roden are some of the very few who are successful in turning found objects and field recordings into thoroughly engaging compositions that don't rely upon the flashiness of techniques to make their work successful. Add New Zealand's Richard Francis to that gaggle as well. It's been a while since any solo work has been available from Francis, who has previously recorded under the moniker Eso Steel; and more recently, he's been entertaining many a collaboration with his fellow NZ noiseniks such as Campbell Kneale and Michael Morley. On Together Alone, Together Apart, Francis turns to the miniscule events of daily life whose peculiar sounds capture his imagination. It could be a crackle from rain falling or the distant surf of the Pacific Ocean or a creaking electric radiator or the hissing static from television snow. It's these small sounds which Francis has recorded and stretched into relatively longer compositions. These rattling, crackling streams of softened white noise move in a synchronous fashion, much like the way that a huge flock of starlings can gracefully circle in the sky without bumping into each other, all moving organically in three dimensions. Think Loren Chasse, as if he were reworking any of Bernhard Gunter's compositions, making them rougher, in line with Chasse's Hedge Of Nerves disc. Headphones are certainly recommended for this album, as the last track is awfully quiet... at least, it is when there's a record store full of people. Very well done!" [Aquarius Records review] www.cmr.co.nz	2007	€13.00
FREIBAND	Stainless Steel	LP	"ini.itu is releasing a new vinyl only LP, the 8th of its catalogue, composed by Freiband • Freiband is one of the long lasting projects of Frans de Waard, who is making music since more than 25 years under many aliases and in different line-ups, the most well-known being Kapotte Muziek ( with Roel Meelkop and Peter Duimelinks ), Goem ( same team, different tools ), THU20 ( same, augmented by Jac van Bussel and Jos Smolders ), Beequeen ( w/ Freek Kinkelaar ), and more recently Wieman ( formerly known as Zèbra ) ( w/ Roel Meelkop ), Ezdanitoff ( w/ Wouter Jaspers ) and Tobacconists ( w/ Scott Foust from Idea Fire Company ). Solo he has been active under his own name, Shifts and of course Freiband. His other activities include : editor and writer for Vital Weekly, programmer at Geluidswerkplaats in Nijmegen, organizer of the residencies Brombrom and director of the labels Korm Plastics, Moll and Plinkety Plonk. • the name Freiband itself is picked from Asmus Tietchens' album Daseinsverfehlung, on which he explored sounds created by rubbing tape freely on magnetic heads. Frans de Waard transferred the concept to the digital field and now mostly uses that name for his computer-based pieces. What Freiband proposes here is 2 sides of radically reworked gamelan : • Side A seems to progress through an acid bath and take the magnifying glass to enhance the digital decays, evoking various stages of textural corrosions. Through these aggressive and irreverent treatments, the naturally metallic harmonics are by twist and turns abruptly dismantled and fractured into crunchy, dense and fuzzy fireworks. Despite the stop & go transitions this hard-edged and raw piece still holds a nice unity across the digital errs and disturbances. • on side B, through some arcane wirings, some machines end up spitting out shifting binary patterns with a somewhat alienating feeling. Proof that electronic music can be minimal and eschew the 4/4 dance floor pattern, in favour of some dry and uncompromising “Unerforschtes Gebiet” between minimal beats and Steve Reich’ early tape compositions. this LP further expands the horizon of ini.itu, successfully interrogating the link between south-east asian instruments and electronic contemporary music. Maybe something to file along Hecker, Pita, Mika Vaino, Fennesz or Alva Noto's Xerrox LPs. p.s. Frans de Waard will also simultaneously release a companion 3” on his Moll imprint, with a totally different track from the same sessions that couldn’t be included on the LP. That track is a spectral exploration of the higher frequencies, followed by a pile-up of gamelan sounds." [label info] www.iniitu.net "The LP thus both presents the quality of the gamelan style in its pure origin and 21st electronic avantgarde by one of Holland's finest sound artists. A superb ode to the importance of the gamelan music for the modern sound experimentations of the Western world." [NM/Vital Weekly]	2011	€12.50
	Mutatis Mobilis	CD-R	"ACR 1028: CD-R in plastic case with transparent paper sleeve Made in 2012, this release is a tribute to the creative experiments made possible in the 80s by the advent of the 4-track tape recorder, and whoever still owns one should get the limited cassette edition of this album. On a 4-track machine, listeners can create different mixes of these humming, pumping, whizzing ambiences that evoke steampunk-style industrial settings as well as the sounds of a harbour. On a normal tape deck, each side is a stereo track in its own right. The tracks from the CD can be loaded into a multi-track audio software, such as the freely downloadable Audacity, to digitally recreate the experience of the 4-track recorder for the 21st century. Freiband used both source material of their own creation as well as material from Aalfang mit Pferdekopf’s album “Mutatis Mutandis” (ACT 1001 / ACR 1014) which is in turn based on sound sources by Freiband’s Frans de Waard. This collaborative spirit rooted in the 80s tape scene and continued in today’s digital world by the many collaborations on Attenuation Circuit, among many other labels, shows how important the 4-track recorder was as the first medium that made “studio” work accessible to a wide range of artists with an experimental approach to sound. With “Mutatis Mobilis”, the liberation of creative energies on the part of the producer is extended to the listeners. A seemingly old-fashioned medium is used for a musical work that offers active participation on the part of listeners, more so than most formats of the so-called interactive digital world." [label info] www.attenuationcircuit.de "Freiband is of course Frans de Waard's guise for digital sound manipulations. This release is different from Freiband's others because it has a strong conceptual element. It contains two thirty minute tracks that divide up into four separate mono tracks on left and right channels, that could be mixed in a multitrack environment. Are you still with me? So yes, there are basically sixteen mono tracks on this disc. And you, as a listener, are invited to mix it up. So far so good. Nice idea, not new but hey, what's new anyway? But then: are you ready to go through all the trouble of doing a mix of your own? I don't think so. Even I (as a musician) think this is no good and I am not going to bother with it. So that's a bit of a problem then, right? Well, no. To my big surprise the idea of doing a mix yourself etc. is just plain nonsense. These are beautiful pieces of drone work, different on left and right channels, but blending together perfectly. A work with soft and gentle changes in texture, almost zen like in nature. There is no need whatsoever to mix this in a different way, because it is just right as it is. So that leaves me with a question: why state the concept when it has become obsolete? On the other hand it partly explains the process of creation. I leave it up to you to decide for yourself, but I do urge you to listen to this. It's very well worth it." [RM / Vital Weekly]	2013	€8.00
	Cubes	CD-R	"Frans de Waard has been long time active as musician since the '80s and released several albums under named artists and groups such as Kapotte Muziek and Zebra. He's also been working for Staaplaat for 11 years. To me though he's best known as the editor of renowned Vital Weekly and such I first came in contact with him. On "Cubes" he act under his alias Freiband manipulating the sound material from the Ukrainian project Dao de Noize and set loose a 37 minute flood of noisy experimentalism." [label info]	2016	€10.00
FROMBERG, DANIELA & STEFAN ROIGK	Jenseits der Wand	CD	"Jenseits der Wand" is the latest CD-release by Berlin-based multi-disciplinary artists Daniela Fromberg and Stefan Roigk, which results from two walk-in sound installations, which were realized in 2021 and 2022. While one focuses on the diverse acoustic dimension of urban life with all its obscure and often indecipherable noises behind your own four walls, the other deals with the specific soundscape of a recycling center, which is created from the supposedly worthless, defective, discarded and scrapped. The result is three captivating electoacoustic compositions, that open up an intriguing perspective on one's own everyday acoustic life and inevitably stimulate the listerner’s imagination. 4-panel digisleeve including two 8pp leporellos and download-code. Released in an edition of 300 copies. https://fragmentfactory.bandcamp.com/album/jenseits-der-wand	2024	€13.00
FUKUDA, HIIRAGI	Seacide	CD	Hiiragi Fukuda turned a lot of “heads” with his 2013 album “My Turntable Is Slow” - released on NY label Selection Records. For many outside of his hometown of Tokyo, Japan it was their first introduction to the guitarist... www.troubleinmindrecs.com "Japanese experimental artist Hiiragi Fukuda returns with his third stateside issue, as Trouble in Mind Records reissues the guitarist-synthesist’s 2014 Seacide on LP and CD (originally issued on cassette by Sloow Tapes). It would be shortsighted to call Fukuda’s rhythms minimal, as that word only describes his recording set up for this release. With one synthesizer, one guitar, delay pedal, and microphone, the artist weaves patterns that bleed beyond repetition into open, breathtaking ceremonies. In the streaming embed below, you will find that Fukuda is a patient player, to say the least, as he works with limited note sequences as long as physically necessary for the next narrative set. Harmonic feedback might be that story, or a shift in pitch or slight lead line. If the listener follows the standard story that original krautrock artists sought a form of music that transcended traditional influences and rhythms, Fukuda reduces that line to its most orthodox interpretation, thereby opening its grand potential: this is music that speaks truly through its bare elements, shedding unnecessary move or obstruction. Seacide is available from Trouble in Mind Records on March 31." [Decoder Magazine]	2015	€13.00
FURUDATE, TETSUO	One Day an old Phantom passed	CD	First full lenght solo studio album since 2001 ! With this new recordings Tetsuo confirm himself as one of the greatest Japanese noise artists of all times.. Numbered edition of 500 copies. www.menstrualrecordings.org Its been a while since I last bumped, physically, into Tetsuo Furudate, but also a while since I last heard his music. Whatever I heard sounded good, but I also felt it was not my kind of music. What that is, I don't know. Furudate uses the sampler to create soundtrack like music. He uses percussion samples, guitar samples, orchestral stuff. Maybe I think its the occasional orchestral bombast and noise that put me off a bit. These two new releases re-aquint me with his music. I have no idea why one is released as a CD and one as a CDR. The CD lists five films ('Nostalgia' (Tarkovsky), 'Hamlet (Olivier), 'Singin' In The Rain' (Kelly), 'Orphee' (Cocteau) and 'Persona' (Bergman) from which he used sound samples to create this one hour work. Some of the bombast is indeed present here, but then I think its also kept to a minimum. I fail to see the relevance of mentioning the films as sources, but then it might also be that I never saw those films. By and large drones seem to prevail in this work, wether they are loud or quiet. Its hard to spot any link towards any film, but its a great work. Even the noise bit and the sampled orchestral percussive bits work fine here." [FdW/Vital Weekly]	2009	€13.00
G*PARK	Gour	LP	"New works by Swiss musique concrete composer and visual artist Marc Zeier / GPark. Active since the early 80's Zeier was a founding member of the Schimpfluch-Gruppe. He lives and works in Zürich as a composer, installation- and video-artist and plankton fisherman. Gour presents one long composition of his highly fascinating and unique crypto electro-acoustics based solely of micro field-recordings and natural phenomena. 'Musique concrete seems eternally old-fashioned and eternally modern. Marc Zeier makes you fall in love with the form all over again'. Thanks Are Due To: The Etang of Gour and its Creatures, A Singing and Cracking Chimney, Wild Bees and Wasps from Piemonte, Limnodromus griseus, Unidentified Voices from the Gemauge House, The Uwaga Squad, The Flies (Sarcophagidae), The Crows and Pigs of Chants, The People of Tiananmen, The Frozen Lakes, The Wolves. Edition of 350 copies." [label info] www.tochnit-aleph.com "The Swiss aktionist collective Schimpfluch has been active since the mid-'80s, with its various members seeking out the transgressive, the ultra-violent, and the transcendent all at once, via a dystopian hybrid of noise, punk theatrics, and / or musique concrete. In doing so, these provocateurs follow what their Viennese progenitors had started in the '60s through performance, sculpture, and painting. It can't go unnoticed how much of the iconography that Sudden Infant of Schimpfluch incorporates from Gunter Brus, and how much the hellish comedies of Otto Muehl filter through the modern day work of Rudolf Eb.Er. GPark (aka Marc Zeier) is the most enigmatic of all the Schimpfluch artists, with no obvious parallels to anyone before him, as he trades in the modern day techniques of musique concrete, although his work acquires a tension, a dynamism, and an existential blight that were never achieved by the likes of Xenakis, Schaefer, Ferrari, or Chion. GPark's epic double cd Sub from two years ago still proves to be an exhausting and exhilarating document into the denatured field recordings, cryptic collage, and subcutaneous electro-acoustics from Zeier, with Gour standing a continuation of those themes. Like on Sub, Zeier states the origins of his sound material - crows, pigs, flesh flies, wasps, wolves, frozen lakes, and some less obvious sounds from the Uwaga Squad and the Etang of Gour. Zeier locates mechanized bursts against a backdrop of very distant blackened noise, with all sorts of whipcrack slashes, wooden creaks, watery plops, corvid calls, and porcine squeals constructing a strange and hostile narrative of ritualized violence against an unknown subject. The genius of GPark lies not in the sounds themselves (even as they are immaculately presented) but in the psychological voids left where Zeier eradicated everything through deathray, sterilizing cauterization, or fastidious vacuuming. A brilliantly done record from one of the very best technicians of the cruel theater of musique concrete." [Aquarius Records]	2015	€18.50
GABURO, KENNETH	Lingua II: Maledetto / Antiphony VIII	CD	"The work and thought of the American composer Kenneth Gaburo (1926-1993) exhibited many striking changes during his lifetime. In fact, while the world of commercial endeavor still insists that artists develop a recognizable personal "style," Gaburo's life-work can be seen as one of continual change and exploration, rather than one of codification and promotion. Some of these changes are beautifully illustrated by the two works on this CD, Maledetto, for seven speaking voices, from 1967-68, and Antiphony VIII (Revolution), for percussionist and electronic tape, from 1982-3. Both are intricate and powerful works, both take their inspiration from "non-musical" materials, and both require virtuosity of a most uncommon order. However, beyond that, the two works could not be more different. Maledetto is a wild choral piece, a great complex cry, a work that, while reveling in a surface texture of innuendo, word play, and pseudo- and real- history, spoken/shouted/sung by 7 amazing speakers, contains within itself a deep and profound celebration of the body, the physical, the sexual. It is one of the earliest of Gaburo's works where his concern for holistic thinking and art-making comes to the fore. This sort of thinking was in the air, of course ¬ many works were written at this time that were multi-layered in their meaning and intent, but Maledetto seems unique. It's combination of profundity and what might be called adolescent sniggering, and almost every emotional state in between, seems unprecedented. The subject of the piece is the word screw, in all its connotations, from the sexual to the mechanical, from the mildly obscene to the boisterous, with diversions along the way into topics such as perfume manufacture, printing, classical design, and structural linguistics, all of which connect with the small ridged, groovy object of attention. Speaking voices also figure in Antiphony VIII, but here they are the voices of people giving their heartfelt reactions to the notion that nuclear war has made their lives expendable. This work was created at least 15 years after Maledetto, and the boisterous energy of the Sexual Revolution, one of the earliest counter-cultural movements of the mid-1960s, has given place to the grim organizational determination of the various Anti-Nuclear movements of the 1980s. Gaburo's attitude has also changed. If Maledetto is a celebration, Antiphony VIII is a wake, and a wake-up call. Not content merely to protest, or to document people's reactions, the percussion, electronics, concrete sounds, and voices in this piece each embody within them Gaburo's analysis of the most common attitudes people have to the problem of governments treating them as expendable - helplessness, indifference, anger, uncertainty, and presents them all to us as a summary, and a questioning of our own attitudes to the problem. Gaburo the deep analyst of phenomena is still here, but now his analytical mind is dissecting not just a problem, but the wide variety of people's responses to that problem ¬ both as a structural resource, and as a means perhaps of intuiting the way forward." [Warren Burt (from the liner notes)] "Gaburo (1926-1993) is one of those many pioneering US-composers like Cowell, Cage, Nancarrow, Partch, etc. But he is one of lesser known ones. With this cd Pogus makes two works by him available. The first one 'Lingua II: Maledetto' (composition for 7 Virtuoso Speakers), composed in 1967-68, was first released on CRI in 1974. The liner notes Gaburo wrote for this release are reprinted here. The recording of this composition however is another one then released by CRI, but dating from the same period. June 10th, 1973 to be exact. The track opens with high pitched non-verbal throat sounds. After a few minutes the narrator starts reading a text about the all the connotations and meanings of the word 'screw'. Then two other voices join, reciting also texts concerning this word, etc., etc. Later on to be followed by a quartet. Sometimes the voices speak simultaneously, sometimes one after another. Sometimes several voices speak the same text. At other times not. Sometimes there is a out of phase reading of the same text by several speakers. It sounds very theatrical. No wonder as Gaburo composed this work as a part of a massive 6-hour theater work Called LINGUA. In 'Maladetto' Gaburo experiments with language and meaning, trying to create a dramatic and theatrical situation. I'm not completely sure but I think this is a live recording, using no overdubs and editing. The second composition 'Antiphony VIII' is written for tape and percussion in 1982-83. The percussion is played by Steven Schick. The recording dates from 1984. Alas the voices on the tape sound very muffled, and one cannot always hear what they say. The percussion playing becomes more and more intense during the piece, becoming increasingly involved in what the voice speaks about (nuclear war). So also in this piece theatrical aspects are present. Because of this quality it may be that both works on this cd still sound very much alive." [DM /Vital Weekly] www.pogus.com	2008	€13.00
GALBRAITH, ALASTAIR & MATT DE GENNARO	From the Dark (South Island)	CD	"ALASTAIR GALBRAITH ist der Klebstoff, der den Underground von Neuseeland zusammenhält. Ob er nun schmerzhaft-schön Geige für so verschiedene Künstler wie PETER JEFFERIES oder THE BATS spielt oder sich mit dem Feedback bei A HANDFUL OF DUST beschäftigt oder zusammen mit dem Amerikaner MATT DE GENNARO neue Performances im Stile der Soundskulpturen von HARRY BERTOIA erschafft. Auf ,From The Dark" verwandeln sich architektonische Eigenarten in hypnotische Sounds. Stahlseile, die manchmal länger als 30 Meter sind, werden durch den Raum gespannt. Wenn die Seile noch mit geharzten Händen oder Lederstücken angeschlagen werden, schicken sie vibrierende Resonanzen zur ihren Fixpunkten. Nicht die Seile erzeugen Geräusche, sondern die Wände, Geländer oder Fensterrahmen, an denen die Seile befestigt sind. Das Resultat, eine Sinfonie in totaler Dunkelheit, ist eine wunderschön gruselige Zusammenstellung von Zufall, Architektur und Improvisation." [press release] "Alastair Galbraith is the glue that binds the New Zealand underground. His work ranges from achingly lyrical violin for artists as disparate as Peter Jefferies and the Bats, to the feedback squalls he conjures as member of A Handful Of Dust, to the otherworldly miniatures he crafts for his own solo albums. However, in recent years, Galbraith, along with American Matt De Gennaro, has developed another remarkable performance idiom, one that is positioned closer to the sounding sculptures of Harry Bertoia. In From the Dark (South Island), architectural idiosyncrasies are transformed into nuanced and hypnotic audio. Wires _some as long as 100 feet_ are affixed throughout a building. When the wires are taut and stroked with rosined hands or a piece of leather, longitudinal vibrations are sent to the points of attachment, creating a natural resonator. It is not the wires that make the sound, but the wall, railing or window frames at their end; wire length and room acoustics determine the pitch. The result, achieved in a veil of total darkness, is a beautiful and eerie confluence of chance and accident, architecture and improvisation. As Galbraith puts it, "There is some quite magical feeling of communion turning the lights off and making the building sing." [press release]	2006	€14.50
GAMMELSAETER & MARHAUG	Higgs Boson	LP	Runhild Gammelsæter and Lasse Marhaug are two Norwegian musicians/sound artists. Both started in the early 1990s music underground and have worked in many constellations with a wide range of collaborators. Despite knowing each other for a long time, Gammelsæter and Marhaug's first collaborative work was the Quantum Entanglement LP in 2014. The project lay dormant until Stephen O'Malley and Greg Anderson invited them to open for Sunn O))) for a special gig in the St. James Church of Culture in Oslo in 2019. The two gathered for a long series of rehearsals, and after the successful performance, it was clear that it was time to start working on new compositions and recordings. That process initiated in late 2019 and continued to early 2021, before and after the lockdown. The result of this long development to be heard accumulated upon their new album Higgs Boson on Ideologic Organ. Marhaug drew inspiration from concepts informed by the structuralist experimental cinema of Japanese directors Takashi Ito and Toshio Matsumoto, futurist worlds of French comic book artists Philippe Druillet and Jean Moebius Giraud, landscape photography of Fay Godwin, Kåre Kivijärvi, and Tamiko Nishimura, amongst others. It became a metaphysical juxtaposition involving Gammelsaeter's research and lyrical ideas based on several seemingly unrelated principles. A process of association inspired by The Glass Bead Game (1943) by Herman Hesse. The discovery of the Higgs Boson as a confirmation of the physical universe. The work of Ernst Schrödinger on the uncertainty principle. The four forces of physics. The Force. Helplessness under armed forces -- as the war sailors in World War II. The influence of magic as expressed in tarot. Gammelsæter experiments with a boundary involving the thresholds amongst various states of focus and legibility by forensic experimentation with techniques such as exclusive expression of consonants, syllabic repetition, retrograde text vocalizations and multi-lingual layering. Her vocal inspirational sources include Sidsel Endresen, Diamanda Galas, Natacha Atlas, the choral works of Rachmaninov, and the bands Carcass and Grave. Two worlds coming together, making the music special. Mixing hard facts with science fiction helps create a kaleidoscopic cross point between the complex realities of the past and a possible future. Across eight parts, the two artists brought a broad palette of instrumentation and sound on Higgs Boson. Electronic and acoustic, objects and field recordings, and pipe organ define the structures of which the center is Gammelsæter's magnificent voice. She In the mix, Lasse approached the instrumental elements like landscapes, then Runhild's vocals as characters that inhabit those worlds. Often, Gammelsæter multiple characters fused with the landscape. As an album, Higgs Boson is direct and focused, drawing on song structures. Within these tracks are vast strata of sound, an immersive multi-dimensional depth of music. A1. The Stark Effect (2:52) A2. The Magus (4:44) A3. Static Case (3:56) A4. Ondes De Fase (4:00) A5. Forces (5:50) B1. Propeller Arc (6:46) B2. Hadron Collider (5:35) B3. These Questions (9:55) "Two totemic Norwegian artists bombard and fizz the senses with a powerful invocation of metal and noise energies on a new album for Stephen O’Malley’s radical Ideologic Organ imprint. The thrilling complex of ’Higgs Boson’ furthers Runhild Gammelsæter & Lasse Marhaug’s fascination with the field of physics following 2014’s ‘Quantum Entanglement’ with Milwaukee’s uncompromising Utech Records. Gammelsæter, a one-time vocalist for O’Malley & Greg Anderson’s legendary pre-Sunn 0))) band, Thorr’s Hammer, and regular contributor to O’Malley’s subsequent projects, is also a professional biologist with a PhD in cell physiology. Marhaug is the prolific, multifarious figurehead of Scandinavian experimental music who surely needs little introduction on these pages. The duo collapse a spectrum of non-musical influences into an immensely compelling sound that, as their LP’s title suggests, strives to confirm the meta- and physical presence of the universe thru opposing forces, and the unquantifiable, uncertain energies produced therein. Gammelsæter’s vocals are evidently a big attraction on ‘Higg’s Boson’, naturally drawing on 30 years of extended works to project a range of unearthly inflections and affective tonal colour unmistakably forged in the belly of radical metal. As her relatively short but perfectly realised catalogue with Thorr’s Hammer, Khlyst, Sunn 0))) (notably ‘Gates of Ballard’!), proves, few can match her might. Summoning structural concepts from the Japanese experimental cinema of Toshio Matsumoto, french comic book futurism of Phillippe Druillet and Jean Moebius Giraud, and landscape photography of Fay Godwin, Kåre Kivijärvi, and Tamiko Nishimura, Marhaug, in turn, galvanises the personalities of Gammelsæter’s voice to extraordinary degrees, conjugating their mutual spirits in vast, electro-acoustic and illusively noumenal space with frankly shit-the-bed results comparable with everyone from Diamanda Galas’ tempered rage to the catharsis of Carcass and Rachmaninov’s choral arrangements. A genuinely unsettling summoning of dark energy." [Boomkat] https://ideologicorgan.bandcamp.com/album/higgs-boson	2022	€24.00
	Higgs Boson	CD	Runhild Gammelsæter and Lasse Marhaug are two Norwegian musicians/sound artists. Both started in the early 1990s music underground and have worked in many constellations with a wide range of collaborators. Despite knowing each other for a long time, Gammelsæter and Marhaug’s first collaborative work was the “Quantum Entanglement” LP in 2014. The album ignited a collective spark that both wanted to pursue further. Still, other commitments got in the way, and the project lay dormant until Stephen O’Malley, and Greg Anderson invited them to open for Sunn O))) for a special gig in the St. James Church of Culture in Oslo in the autumn of 2019. The two gathered for a long series of rehearsals, and after the successful performance, it was clear that it was time to start working on new compositions and recordings. That process initiated in late 2019 and continued to early 2021, encompassing before and after the world went through the lockdown. The result of this long development to be heard accumulated upon their new album “Higgs Boson” on Ideologic Organ Music. Throughout the profound process of creating “Higgs Boson”, Gammelsæter and Marhaug drew inspiration from various subjects and artists. For Marhaug, it was concepts informed by the structuralist experimental cinema of Japanese directors Takashi Ito and Toshio Matsumoto, futurist worlds of French comic book artists Philippe Druillet and Jean Moebius Giraud, landscape photography of Fay Godwin, Kåre Kivijärvi, and Tamiko Nishimura, amongst others. It became a metaphysical juxtaposition involving Gammelsaeter’s research and lyrical ideas based on several seemingly unrelated principles. A process of association inspired by “the Glass Bead Game” by Herman Hesse. The discovery of the Higgs Boson as a confirmation of the physical universe. The work of Ernst Schrödinger on the uncertainty principle. The four forces of physics. The Force. Helplessness under armed forces - as the war sailors in World War II. The influence of magic as expressed in tarot. Gammelsæter experiments with a boundary involving the thresholds amongst various states of focus and legibility by forensic experimentation with techniques such as exclusive expression of consonants, syllabic repetition, retrograde text vocalisations and multi-lingual layering. Her vocal inspirational sources include Sidsel Endresen, Diamanda Galas, Natacha Atlas, the choral works of Rachmaninov, and the bands Carcass and Grave. Two worlds coming together, making the music special. Mixing hard facts with science fiction helps create a kaleidoscopic cross point between the complex realities of the past and a possible future. “Quantum Entanglement” featured two long-form pieces centred around a prepared piano and layered voice, while “Higgs Boson” developed a much more elaborate and ambitious compositional work. Across eight parts, the two artists brought a broad palette of instrumentation and sound. Electronic and acoustic, objects and field recordings, and pipe organ define the structures of which the centre is Gammelsæter’s magnificent voice. She has become known for her legendary voice, with her vast and unique range of inflective techniques and affective colour through her 30 years creating music. In the mix, Lasse approached the instrumental elements like landscapes, then Runhild’s vocals as characters that inhabit those worlds. Often, Gammelsæter multiple characters fused with the landscape. Make them occupy space, sometimes blend into it, sometimes dominate it. Constructing and setting visual guidelines helps set focus and open possibilities. As an album, “Higgs Boson” is direct and focused, drawing on song structures. Within these tracks are vast strata of sound, an immersive multi-dimensional depth of music. Creating a feeling of depth while working with a flat two-channel stereo format - and how dimensions of texture and distortion can help develop the illusion of a space. The album structure is a story-like arc, a malleable subjective path, set as the album traverses oblique and suggestive areas, opening the concepts for the listener to unpack as they like. – exclusive consultation with Gammelsæter & Marhaug, edited by Stephen O’Malley, June 2022 SOMA043 Artist : Gammelsæter Marhaug Title : Higgs Boson 01: The Stark Effect 02: The Magus 03: Static Case 04: Ondes De Fase 05: Forces 06: Propeller Arc 07: Hadron Collider 08: These Questions (for LP 1-5 is side A, and 6-8 side B) Runhild Gammelsæter – vocals, guitar, bells, digital piano/organ and processing Lasse Marhaug – electronics, synth, objects and mixing All music written, recorded and produced by Gammelsæter og Marhaug, Oslo 2020. Lyrics by Gammelsæter. Mastered by Stephan Mathieu at Schwebung Mastering. Portraits by Jo Michael de Figueiredo. Art direction and design by Stephen O'Malley. https://ideologicorgan.bandcamp.com/album/higgs-boson	2022	€15.00
GARCIA, MIGUEL A.	Eraginie	CD	In the stillness we touch the eternal? With this new edition, Miguel A. García definitively abandons the low fidelity of his early work to give detritus, error and acoustic waste a luxury treatment that is recommended to be heard in good equipment. Just as before we heard their disturbing worlds from afar, we intuited them, now we are in there, we are the very central nucleus; we are part of it. What used to come from outside now comes from within. The remnants of light are brighter than ever. The most blinding darkness. Quite simply: the first piece begins with the sounds of a field recording of a hypothetical space junk video game that, in an alien environment, organizes itself into a musical symphony, takes shape and organizes itself according to a logic of elusive masses . The following theme shares with the first the lack of a marked regular rhythm, but instead they do have their tempo, their internal rhythm, their cadence based on micro-rhythms and sequences and frequencies, which make them not static but enormously dynamic. A liquid, mercurial nature (cold, but a good electrical conductor); constantly changing; an apparently imperceptible but profound metamorphosis. On the other hand, the third theme opens with a mixture of the most unusual rhythms, a bizarre dance session in crescendo; psycho-electroacoustic dance. To close the cycle, the fourth piece brings us the melody seen through a hundred thousand veils, as sensual and seductive as elusive and painful. The dissolution of all that is solid, the eternal and unstoppable dissolution of matter and its return to nothing. Fernando Ulzión Composed by Miguel A. García. Mastered by Juan Carlos Blancas. Drawings by Maite Mugerza. Design by Miguel Carvalhais. Additional raw sound sources by Pedro A. Mirones (3), Maite Mugerza (2+4), Garazi Navas (2), Schahram Poursoudmand (1), Alex Reviriego (2), Jeff Surak (1). Composed in 2022-23 at Azkuna Zentroa, Bilbao as part of the associated artists program. https://cronica.bandcamp.com/album/eraginie	2023	€13.00
GEINS'T NAIT & L. PETITGAND	Oublier	CD	"Geins't Naït and Laurent Petitgand's Oublier follows their 2014 Je vous dis album, which inaugurated the Mind Travels series on Ici d'Ailleurs -- a collection dedicated to ambient, industrial, and classical-influenced music. Geins't Naït and Laurent Petitgand exemplify the particular vision of the series, with a backroads music that's often unusual, always poignant, and underappreciated. Oublier is the finest illustration of that vision to date. Geins't Naït creates industrial collages in a similar vein to the early work of Einstürzende Neubauten or Throbbing Gristle, while Laurent Petitgand is best known for his many contributions to the films of Wim Wenders, including 2014's The Salt of the Earth, which won three awards at the 2014 Cannes film festival. These two seemingly disparate artists are united here by their desire to escape from all generally accepted standards of creativity. Regarding Oublier, one could pick out Laurent Petitgand's magnificent melodies or Geins't Naït's haunting, hypnotic dynamics of loops and manipulated samples, but it is ultimately up the listeners to find their own meaning and experience -- because one of Oublier's central qualities is that it situates listeners at the center of its universe so effectively and to such an extent that they actually become participants. Some will perceive a heightened melancholy, even a form of despair. Others will be seduced by the work's evident beauty and warmth. Whatever the case, its non-linearity favors total immersion and sometimes -- in the more intense moments -- totally letting go." [label info] www.icidailleurs.com	2015	€13.00
	Like This Maybe or This	CD	Five years after the release of "Je vous dis" in 2018, Geins't Naït and L.Petitgand's second album from the "Mind Travel" and "Make Dogs Sing" collection on the German label "Offen", the duo are now writing a new chapter in their story with this fascinating poetic tale. The same mysterious and heady atmosphere which characterises the two musicians is present in this new work but clearly they have never ceased refining and polishing their sounds to give their compositions even more power and depth. Geins't Naït and L.Petitgand here offer twelve new tracks with names as enigmatic as the title "Like this maybe or This" itself and the record's whole universe. In reality, these mysterious names lead us to let ourselves be taken to the deep meaning of their creation. The subject matter is certainly difficult to grasp and invites us on an inner journey while leading us to doubt and question ourselves incessantly. There is a perfect alchemy between these two artists though this was far from self-evident as they come from two very different schools. Thierry Merigout, who is now the only representative left from the late 80's experimental project Geins't Naït in Nancy, comes from the post-industrial scene. As for Laurent Petitgand, he is a pure melodist who is best known for his work as a composer of music for films and live shows and has collaborated with Wim Wenders and Paul Auster in particular. "Like this maybe or This" is a fully accomplished symbiosis between Geinst Nait's industrial and experimental tonalities and the celestial melodies of Laurent Petitgand. "Shape of the storie" starts the album with a bewildering atmosphere which mixes a sample of a guttural voice with cavernous resonances thus prefiguring the album's general atmosphere. However, while some tracks like "HAC" fuel our existential anguish, other tracks have a poetic and melancholic tonality which touches our deepest humanity. This is the case of "Dustil" whose subtle piano notes combined with the melancholy violin show us a sublimated world. This fascinating blend of violence and gentleness makes this record an atypical work which enables listeners to lose themselves in an emotional nebula where they can perceive the turbulence and also the intensity of our inner life. https://mindtravels.bandcamp.com/album/like-this-maybe-or-this	2021	€10.00
GEINS'T NAIT + SCANNER + L. PETITGAND	ET IL Y'AVAIT	CD	Since 2014, when the Mind Travels [Ici, d'ailleurs] series was created, Geins't Naït and Laurent Petitgand have been churning out project after project, constantly experimenting with sound. The album 'Et il y'avait' is the outcome of an exceptional creative collaboration between Geins't Naït, Laurent Petitgand and British artist Scanner aka Robin Rimbaud. Geins't Naït and Laurent Petitgand have been music activists for more than 30 years, two very distinctive musicians from two different schools whose collaboration was far from obvious: the industrial and experimental scene for Thierry Mérigout (the last active member of the group Geins't Naït) and film music for Laurent Petitgand, known in particular for his long collaboration with director Wim Wenders. At first sight, the two artists have distinct visions, but share common backgrounds... GN & L. Petitgand were recently celebrated in a documentary directed by Otomo de Manuel: 'So Young But So Cold', a feature-length film about Nancy's Punk/No Wave scene, which will be released in on [DVD + CD] as part of the More Over collection (Kas Product, Mathématiques Modernes) on the Ici, d'ailleurs label. As with the precceding 'OLA' album, the GN+LP duo is joined by an artist who is far from unknown to ambient and IDM fans: Scanner. The Londoner is a virtuoso of sound collage, one of the most active on the underground electronic scene since the 90s. He has released over twenty albums on labels as prestigious as Sub Rosa and New electronica. A committed collaborator, he has worked with a host of artists over the course of his career, including Gareth Davis and Alva Noto. Siril Tiebo, cellist, contemporary artist and performer, who appears on several tracks on "Idiot LP1" and "Idiot Scan", is also on board for this new album. This new album, "Et il y'avait", has a different feel to its predecessor, "OLA". Quieter and more atmospheric, "Et il y'avait" leans more towards dark-ambient this time round, but still features plenty of industrial sounds. "Et il y'avait' by Geins't Naït, Laurent Petitgand & scanner is highly recommended for fans of Coil, Caroline K or Nurse with Wound. https://mindtravels.bandcamp.com/album/et-il-yavait	2023	€13.00
GELSOMINA + NO XIVIC	Furnace	CD	Das Titelstück ist ein furioses 25minütiges Power-Drone Monument, welches beide finnischen Projekte im Oktober 2006 live einspielten; eine harmonische delay- Bass Grundlage wird mit harsch-noisigem Brett garniert, danach folgen noch 2 lange einzelne Stücke von beiden Acts, pulsierend-beschwörender harsh-core Industrial von GELSOMINA, fantastischer "mysterious noise" von NO XIVIC. " 'Furnace' is an unlikely yet strangely natural union of no Xivic, renowned sculptor of dark electro-acoustic soundscapes, and Gelsomina, Finland's most prolific harsh noise artist. The title track, also the main piece on the album, is a live collaboration recorded in late 2006, a grand opus of psychedelic noise with a peculiar 'kraut' flavour! In addition to this, both artists created exclusive tracks on their own to complete the album. In total, Furnace is a 44-minute blast of fire, brimstone and hazardous electric currents, and thus a fine completion of Some Place Else's tenth year of activity. CD in square DVD-box with full colour artwork and insert. Edition of 500 copies." [label info] www.someplaceelse.net	2007	€12.00
GENETIC TRANSMISSION	Last	CD	" 'Last' is the latest Genetic Transmission album. Distributed only as a handful of CDRs a few years ago, it is only now that it appears as a regular CD release as part of the IYHHH series. The idea behind the recording of this material was to the creation of sonic miniatures, short forms created from the acoustic preparations or electro-acoustic sources resulting in numerous sound experiments which Tomasz Twardawa has been known of. As a result, the album is composed of fifteen tracks in total, mostly shorter tracks, which are more than one hour of music. 'Last' is the end of a chapter, as the title indicates. This is the last studio album in the discography of Genetic Transmission. This one is the end and the summary of Tomasz Twardawa's activities under this banner. And also the last, 9th part of the IYHHH series, presenting interesting discoveries or unusual sounds from Polish artists in an unconventional way. The album is released in an ecopack with a postcard and limited to 444 hand-numbered copies." [label info] www.zoharum.com	2015	€12.00
	Genetic Transmission	CD	It is hard to imagine the history of Polish industrial scene without noticing the activities of GENETIC TRANSMISSION – a project that might be considered legendary or having a cult status among quite a few, and the one that certainly has left a lot of its influence on the activity of many other artists in our country, and also inspired others to the activities in the field of urban, post-industrial music. The history of Genetic Transmission began when Tomasz Twardawa closed his earlier incarnations, working alone or in groups Zilch, Ładne Kwiatki, Godzilla. Although each of these groups left behind many interesting sessions, released earlier on tapes and CDRs, we have undertaken the release of the most important albums of the project Genetic Transmission, as the most active one of Tomasz Twardawa, and thus the richest part of his discography. As the first one in GT Archive Series, we release the debut material entitled simply “Genetic Transmission” released earlier on an OBUH tape in 1997. Now enriched and mastered by Tomasz Twardawa. It has been 20 years since its first release, but the recordings of sonic search still sound fresh and intriguing. We will find here compositions kept in the characteristic style of GT: harsh, metallic sounds, a mechanical structure, brut collages created using only analog sources and recorded in exactly the same manner – without the use of computers. In these dense structures, the artist concluded his entire manifesto, a declaration of his own research which has been developed consistently through his next sessions. “Genetic Transmission 1” is the starting point of your adventure with this project. This reissue is strictly limited to 200 copies. www.zoharum.com	2016	€12.00
GIARDINI DI MIRO	Good Luck	CD	"Willkommen zu Hause: fünftes Album der italienischen Indierock-Band. Ihr letztes Werk führte die italienische Post- und Indierock-Band weit zurück in die Vergangenheit: Mit "Il fuoco" vertonten Giardini Di Mirò Giovanni Pastrones Stummfilm aus dem Jahr 1915. Ansonsten mussten die Fans fünf Jahre lang auf ein neues Studioalbum warten: "Good Luck" nimmt diese Hürde jetzt sehr optimistisch. Der Titel habe was mit der Landschaft zu tun, in der das Album produziert wurde, so die Band. Die Provinz Reggio Emilia, eine Gegend, die sich durch Minimalismus, Einfachheit und geometrische Formen auszeichnet. Die Songs wiederum entstanden on the road im Tourbus und wurden, zurück in der Heimat, zu Souvenirs des Unterwegsseins. "Good Luck" entstand in aller Privatheit, zusammen mit Freunden der Band wie etwa den Sängerinnen Angela Baraldi und Sara Lov (Devics) und dem Gitarristen Stefano Pilia.// Giardini di Mirò really needs no introduction. Hailing from Cavriago, Italy, a small town near Reggio Emilia, the band released its first EP in 1998 and not only put out a ton of records ever since, but has been touring both Italy and the rest of Europe like crazy. So far, the band has released four full-length albums, the discography however also includes a multitude of EPs, remixes and exclusive tracks for compilations. While not working with the band, GDM's members engage in solo projects, tapping into sounds and genres, one would not necessarily expect from a band deeply routed in guitar music. The band also collaborated with and commissioned remixes from artists like Cyne, Dntl, Hood, Alias, Apparat, Piano Magic, Opiate, Isan and Herrmann & Kleine. Giardini Di Mirò has been on City Centre Offices' watch ever since the band started out. In 2010, CCO finally started to work with GDM, releasing the critically accaimed "Il fuoco", the band's soundtrack for Giovanni Pastrone's silent movie from 1915. As a first release in 2012, City Centre Offices now releases "Good Luck", the band's first proper studio album since 2007. [label info] www.city-centre-offices.de	2012	€16.00
GIFFONI, CARLOS	Dream Walker	LP	About 20 years ago, Carlos Giffoni quickly made a name for himself both as a noise guitarist and a laptop noisician upon arriving in New York (via Florida and Venezuela). His expertly curated annual No Fun Festival, as well as his No Fun label, further solidified him as a key figure in the international noise scene. The festival's success proved the formula for experimental and improvised music fests could work with the noise underground as well, but it also capitalized on the faster rate of connections being made between geographically disparate artists as a result of the (still relatively nascent) internet. Back then Carlos would play his laptop like a pinball machine, in contrast to the static stage presence of most laptop performers, and his solo music, like many others' at that time, expressed a less dark and dour vision of the implications of harsh noise. By the close of the 2000s, he had stopped doing the festival, switched gears musically to playing the lighter No Fun Acid sets, and moved to LA. Now he has re-emerged in a big way with Dream Walker, his first full-length since 2018's Vain (and only his second since 2010). Inspired by the masterful performances and diffusions he heard at the February 2023 GRM electronic music festival in Paris, particularly sets by old friends Lasse Marhaug, Jim O'Rourke, and Eiko Ishibashi, he began conceptualizing new music of his own in response, turning to synthesizers and other hardware to produce a work more firmly in the tradition of European electronic music than anything else he's done. Intended as a late night listen that evokes the edge of consciousness, with Carlos getting as close as possible to a trance state during the actual recording and mixing, each of the eleven tracks transition into one another rather than being standalone discrete pieces, forming two side-long suites that proceed like stages of a dream. Unabashedly tonal and repetitive, the glistening opener "Now Dream," the droning "Sleep Walker," and the closing triptych of "Lost in Descanso," "Sunrise," and "The Hidden Path" occupy a power electronics-ambient nexus that feels spiritually close to the Mego label. Elsewhere, "Ticking Clock" is reminiscent of Stereolab's non-easy listening vintage electronic side, while the two-part arpeggiated "Euphoria" recalls early Oneohtrix Point Never (which Carlos released on No Fun). The contrast between "One Breath"'s crackling opening and its remarkably fluid and soaring sustained synthesized chords is a distillation of the album's lingering tension between electronics' ability to project mechanical rupture as well as the organic and the infinite _or "walking between dreams," as Carlos himself puts it. Produced by Lasse Marhaug (who also mastered Carlos' first solo album, Welcome Home, back in 2005), released by Stephen O'Malley (who I remember DJing at the No Fun fest), with cover art and photos by personal friends, Carlos considers the album a family affair. But Dream Walker most of all heralds a maturation of the artist, and stands as a record that exists out of pure desire, rather than obligation or force of habit; a statement of reconnecting with music not by merely revisiting it, but by building on what's come before, both in his own work and in the music he loves. -Alan Licht, New York, December 2023 https://ideologicorgan.bandcamp.com/album/dream-walker-2	2024	€25.00
GOLDSTON, LORI	The Passion of Joan of Arc	CD	As a follow up to her work inspired by contemporary and historical films with her collection of non-oficial and interpretative scores entitled: “Film Scores” (first published in 2013 by the Belgian label Sub Rosa); Lori Goldston returns with a brand new musical interpretation of the celluloid; this time, inspired by: “The Passion of Joan of Arc”, the legendary 1928 silent film, directed by Carl Theodor Dreyer, about the condemnation and punishment of the young french martyr -and feminist icon- Saint Joan of Arc. Lori Goldston, the renowned American cellist from Seattle, best know for playing in some of the most visible rock acts from Seattle as: Earth, Nirvana, The Black Cat Orchestra, brings us a new jewel of contemporary and alt-classical music at it’s untamed and organic side; this time accompanied by two of the most notable artists in avant-garde music worldwide: The ambient/experimental music guitarist: Aidan Baker, and the percussionist, drummer and Italian sound artist: Andrea Belfi. The Passion of Joan of Arc is an album that evolves slowly letting glimpse small variations, while growing in intensity to reach a strong climax, transiting through the sonorities of experimental chamber music, alt-classical, minimalism, free-improv and ambient music with a special organic feel. An album recorded live at the Christuskirche in Bochum, Germany, an evangelist church from the XIX century, capturing the natural reverb of the place . With an evolving improvisational composition they give us an extremely organic work, full of variations, textures and nuances, taking the expression to the limit, introjecting and projecting in a liminal way, looking to create a sound space of acoustic images. Substrata proudly presents a special and limited edition digipack. The album was recorded at the Christuskirche, an XIX century curch in Bochum, Germany and is edited, mixed and mastered by the renowned sound engineer: Mell Dettmer (The Melvins, Sunn O)), Godflesh, Earth, Boris, Stephen O ‘Malley, Eyvind Kang, John Zorn, Jessica Kenney, Wolves in The Throne Room among others.) The cover artwork is a painting: An abstract interpretation (and a layering) of some scenes of the film “The Passion of Joan of Arch”, made by the Mexican visual artist: Mariana Ortizalbo. Composed and performed by: Lori Goldston Guest Musicians: Aidan Baker (Electric Guitar) Andrea Belfi (Drums and Percussion) Recorded at: Christuskirche, Bochum, Germany by Christoph Scheidel Edited and mixed by Mell Dettmer Mastered by Mell Dettmer Cover and Layout by Mariana Ortizalbo https://substratamx.bandcamp.com/album/the-passion-of-joan-of-arc	2018	€13.00
GRAILS	Black Tar Prophecies 1, 2, 3	CD	"The collected Black Tar Prophecies ends up being a more idiosyncratic mission statement for future Grails recordings, revealing their fondness for the groundfloor '60s and '70s experimental artists that saw music as a process of discovery as opposed to the pre-conceived, pre-parametered, commodified sport that underground music has become. A parallel is now forming between Grails and old-school experimental bands like Faust who, rejecting their past, started over from the beginning to build new languages in music. Grails' third full length recording, and first full-length since leaving Neurosis' label Neurot, is The Black Tar Prophecies. Seven of these nine tracks from this full length were released in small highly sought-after pressings of 12" vinyl on two European labels. The Black Tar Prophecies is a massive evolutionary step in the established Grails sound and it is shrouded in change and pain. The somewhat clinical studio sound and recording style which has established them a tremendous following has been replaced with a much more free and conceptual recording style. This method liberated the group in the studio and these recordings feel much more open, heavy and for lack of a better term, 'psychedelic.' We're not talking about the cliché co-opted psychedelic fashion, but psychedelia as a reckless embrace of new states of mind and possibilities." [press release]	2006	€13.50
GREENHAM, LILY	Lingual Music	do-CD	"Britain’s best known sound poet is Bob Cobbing, but it’s hard to come up with a list of other sound poets working in Britain in the 60’s and 70’s. It’s equally difficult to think of any female sound poets working anywhere. Lily Greenham was Danish, but spent her childhood in Vienna. After several relocations across Europe she settled in London in 1972 with her British husband (musician and poet Peter Greenham), where she lived until her death in 2001. Nearly all of her own writings and compositions date from after her arrival in London, but prior to her arrival in London she had been involved in two major European art movements. In the late 50’s she had been an active member of the early Wienner Gruppe, performing in their wild experimental theatre works and reciting the new poetry of young artists like Gerhard Rühm, Konrad Bayer and A.C. Hartmann, but before the Wienner Gruppe had established itself as the important art movement it was to become, she had moved on and changed her working practice. In 1964 she was back in Paris for a second time, but this time she was working as a visual artist specialising in optical art. She was soon directly involved in group shows with the ‘Groupe de Recherche d’Art Visuel’. For the second time she was at the centre of an emerging art movement that was exploring new ground, but predictably enough she moved on. Once in London she began to record her own text based compositions that used a mixture of sound poetry techniques, electronics and multi-tracking. The term ‘lingual music’ that she coined for her compositions refers to her technique of using tape loops of text to create complex and dense musical structures. Her most well known composition in this style is ‘Relativity’, which was made in 1974 in collaboration with the Radiophonic Workshop at the BBC. She also worked with quite a few musicians, both via the early LMC network in London, but also on an international scene. A list of musicians she worked with includes John Tchicai, Wolfgang Dauner, Bob Downes, Barry Guy, Hugh Davies, Max Eastley and Peter Cusack. This 2CD set compiles a wide variety of her own work, including live solo performaces, film soundtrack pieces, as well as many tape pieces. There are also examples of her performing works by Cobbing, Rühm and other sound poets, as well as recordings of her work with Bob Downes Open Music. The recordings date from between 1968 and 1984." [label info] www.stalk.net/paradigm	2007	€16.00
GRUBBS, DAVID & ELI KESZLER	One and One less	LP	One and One Less is the first collaboration between David Grubbs and Eli Keszler and the first release in the UDPR series. One and One Less consists of a performance and an installation, both of which draw upon a single source text—David Grubbs’s ongoing One Poem, and the LP is split between these two forms: the live performance for reader (Grubbs) and percussionist (Keszler), and a recording of the installation version from the MIT List Visual Arts Center. The original installation (at the MIT List Visual Arts Center from October 10, 2014 to January 4, 2015 as part of the show Open Tunings) used recorded excerpts from One Poem to trigger a range of mechanical strikes within seven custom-made, sculptural sound boxes, each of which contained an elaborate mechanism of motors and speakers built by Keszler that acoustically filtered the voice, creating a constantly changing composition—one equally verbal and percussive. Subsequent to the live performance, the installation at MIT was intended as an aural afterimage, in which the clean visual disposition of the gallery space was contradicted by the intensity of the acoustically produced sound field. This LP is printed in a limited edition of 300 copies and includes an insert with the text of David Grubb's poem-in-progress. UDPR is a vinyl record series for the sound of poetry, curated by Michael Barron for Ugly Duckling Presse. David Grubbs is Professor of Music at Brooklyn College and the Graduate Center, CUNY. At Brooklyn College he also teaches in the MFA programs in Performance and Interactive Media Arts (PIMA) and Creative Writing. He is the author of Records Ruin the Landscape: John Cage, The Sixties, and Sound Recording (Duke University Press). Grubbs has released twelve solo albums and appeared on more than 150 commercially-released recordings. He is known for his cross-disciplinary collaborations with poet Susan Howe, visual artists Anthony McCall, Angela Bulloch, and Stephen Prina, and choreographer Jonah Bokaer. His work has been presented at the Guggenheim, MoMA, the Tate Modern, and the Centre Pompidou. Grubbs was a member of the groups Gastr del Sol, Bastro, and Squirrel Bait, and he has performed with the Red Krayola, Will Oldham, Tony Conrad, Pauline Oliveros, and Loren Connors, among many others. He is a grant recipient from the Foundation for Contemporary Arts; a contributing editor in music for BOMB Magazine; director of the Blue Chopsticks record label. Eli Keszler Photo credit: Christelle Perrin Eli Keszler is a New York-based artist, composer, and percussionist who situates his practice within the intersections of architecture, performance, installation, notation, and composition. Keszler’s installations and visual work have appeared at the Victoria & Albert Museum, MIT List Visual Arts Center, The Kitchen, South London Gallery, Barbican, Luma-Foundation, Tectonics Festival Reykjavik, and Centraal Museum in Utrecht among many others. Keszler has toured extensively throughout Europe, Asia and the United States, performing solo and in collaboration with artists such as Christian Wolff, Phill Niblock, Tony Conrad, Oren Ambarchi, Joe McPhee, Jandek, Roscoe Mitchell, Anthony Coleman, T Model Ford, and Ilan Volkov with the Icelandic Symphony Orchestra. His writing and work has appeared in BOMB Magazine, The New York Times, Wire Magazine, Frieze, and Modern Painters. He has received commissions and awards from Gaudeamus, National Public Radio, and the Foundation For Contemporary Art. Keszler is a graduate of the New England Conservatory of Music. https://www.uglyducklingpresse.org/catalog/browse/item/?pubID=546	2017	€28.00
GURUN GURUN	Uzu Oto	LP	The Czech group Gurun Gurun is made up of Tarnovski, Tomáš Knoflíček, Federsel, and Ondřej Ježek. who took their name from the fictional planet in the old school Slovak children’s TV show She Came Out of the Blue Sky. Uzu Oto is his first album for the Peruvian label Buh Records. Since the beginning, it has been clear that apprehending their working and reflecting it would be a tough nut to crack. Is this even a band? Do they play compositions or is it all improvised? On the stage, you see four men hunched over tables overflowing with strange objects, hard-to-identify electronic devices, musical and non-musical instruments, and a chaotic tangle of cables, producing slow, constantly developing melodies and a hypnotic atmosphere that works a little like falling through a strange wormhole full of sounds, noises, and soft female vocals, mercilessly sucking you in, forcing you to collapse into yourself and enter a parallel universe. They have played concerts across Europe, including London’s Café Oto, as well as successfully touring Japan. They have shared the stage with artists including Michael Gira, Tim Hecker, Robert Aiki Aubrey Lowe (Lichens), Keith Fullerton Whitman, Kate Carr, and Lichens. This new album, Uzu Oto, was also created in concert – each track at a different show. Despite this fact, GG do not consider it a traditional live album. And as this group generally exists independently of our common conception of time, the history of the new recording reaches back to before theird previous record, Kon B. Uzu Oto features the Kyoto-based singer Cuushe and Asuna, a sound artist from Kanazawa. The LP cover is by Czech artist, inventor, and sonic anarchist Petr Válek. Attending a Gurun Gurun concert is like taking part in an expedition by a pack of monkeys to explore the wreckage of a spaceship that was shipwrecked a long time ago. Their improvised live sets are a mix of post-club-music deconstruction, metamorphosed acoustic and electronic sounds, generative music, and musique concrète. This is also the spirit of Uzu Oto. No, this is not music to play while you wash the dishes. Or perhaps it is, but you have to factor in the fact that the dishes will become a tangle of roots, threads, ropes, lianas, and spider webs. And that your entire kitchen may well catch on fire. https://buhrecords.bandcamp.com/album/uzu-oto	2022	€22.00
H.H.T.P. & PORTABLEPALACE	[Cavitation}	CD	Gemeinsames Improvisations-Projekt von DMITRY GELFAND (New York) und ANDREY SAVITSKY aka h.h.t.p. (Minsk), und KIRILL DOMNICH, drei lange Stücke seltsamste Computer-Musik mit „prepared piano“-Einsatz, es rauscht & flirrt fragmenthaft, einzelne Klangereignisse bahnen sich ihren Weg, gedämpft ruhig & spannend arrangiert, voller interessanter Klangeffekte.... “The interaction between computer science technology and freeform musical creative process becomes a central point in this international collaboration of three artists from Belarus and USA. The abstract soundscapes are obscured by intricate structures, acoustic phenomena and electronic effects, it's going to infinity and never repeat itself. The finest harmony of soundfield is credited to the principles of intuitive simulation, realised through the system of computer-aided instruments. Release date is 10 December 2005. Limited edition of 500” [label info]	2005	€13.00
H.Ö.H.	Superorganism	CD	"Finnish obscurity has reached small cult status with his tape releases. Utterly primitive totally analogue noise experiments, have been most often self published by artists, but there exists sold out and sought after CD anthology consisting some of the early tapes. This vinyl album is all new material, exclusive for the LP. Tape loops, broken primitive electronics, tape hiss and distortion crackles, with really tasty sound and perfect vinyl sound." https://freak-animal.net/2020/12/20/hoh-lp-amek-maj-moozzhead-freak-animal-2020/	2024	€13.00
HAARVÖL	Bombinate	CD	Part 1 in a series of 3. After releasing Indite at Moving Furniture Records (April of 2015), the first one with MFR but the band’s second album, Haarvöl began a series of conceptual, somehow interconnected projects, restricting the boundaries of the sonic ambience to a very concise one. This long process gave birth to three albums, each one having a very particular sonic approach but knitted in a personal Haarvöl sound idiosyncrasy, which gives the trilogy a thread that intertwines the whole collection. Bombinate is the first album of this trilogy to be released at Moving Furniture Records. It represents an evolution in Haarvöl’s sound. The music lives from the subtleties hidden in a powerful but sophisticated mass of sound. The exploration of the dynamics of the sounds evolved to a careful process of composition, giving the music a richness that evokes images, reinforcing the cinematic characteristics explored in the early albums. Each listener is invited to find the hidden details and create his own personal universe of the music. Bombinate combines tracks that are between quietude and a more sonic experimentalism towards the exploration of time in music. This appears as a kind of individualized approach to both drone and ambient aesthetics. The balance between both sides is a challenge for the album and a statement from the band. As in previous albums, Haarvöl explores the relationship with images both at the sonic level and in the references that often came from the visual arts. Here the spectral presence of Bas Jan Ader and Tonino Guerra, among others, can be experienced. Also a note for the participation – again - of the Spanish electro-acoustic composer and field recordings expert Xóan Xil López. Haarvöl, a collective project based in Portugal with three permanent members, has been active since the end of 2012. Haarvöl’s music has been presented in several spaces as sound installations, audio-visual performances or as a sort of expanded cinema focused on the connection between sounds and images. It is also present as original sound track in videos from visual artists." https://haarvol.bandcamp.com/album/bombinate	2017	€12.00
	Ridge of Humming Spoils	CD	The Portugese trio Haarvöl returns to Moving Furniture Records with the last part in their trilogy. After Bombinate and Peripherad Debris they conclude this journey with Ridge Of Humming Spoils. "Psychoanalysis refers to the frontier as an empty signifier: it embodies an interior and an exterior. The last album of the trilogy we set out to puts us there. On top of a vast set of remains whispering to us. Remains, because they have been left behind, because they are no longer useful. And yet, usefulness is something that tells little or nothing to us, artists. Quite the opposite. For this very reason, this new album is made up of these testimonies that whisper their condition very strongly to us. From the top of this pile of whispering remains we have achieved something that is precious to us: time, in its three dimensions, and not enclosed in that kind of perpetual present where they want to force us into, in a timeless time. Here, at the top of this ridge, we can look back and ahead. Because it interests us. Because we want to. We started the trilogy in a noisy place, but still with views to the center, we walked towards the periphery and now we find ourselves at the top of an empty signifier, on a border metaphor. It would have to be this way in a project where the important thing is the escape from formulas and repetitions: maintaining coherence without falling into concessions has always been our motto. Naturally, as we are at the border, its outside is much more appealing to us (it has always been this way until today. The continuous migrations of the past and of the tragic present prove it so) with its uncertainties and unfamiliarity, but also with the certainty of the difference. Is this not, after all, the appeal of art: that attraction for the unknown? Therefore, we have a certainty that is continually whispered to us by these remains that can be heard now: we will move on to the outer side, of course. The border, here made up of this ridge of whispering remains/humming spoils, has naturally closed the cycle. That is what borders are for: to interrupt, to limit; ultimately, to try to block. In our case, to be crossed affirmatively – as we well know, there are no walls that can prevent it. We will continue exploring the sounds that interest us: sounds that contemplate time and attention as decisive elements, sounds that can appear as specters, asynchronous, almost incongruous with this time with no time to have time, this autophagic time. But already outside. In a utopia of an exile that carries no form of negativity, it affirms itself as positive otherwise because it allows the necessary distance to a placement that wants to be creatively critical. One last note for something that sometimes appears in a completely innocuous way: the track titles. That is not our case. Here, just as it has been common throughout the rest of our discography, the titles we choose try to connect the real that surrounds us and that we don’t want to be oblivious to. After all, they embody this whole metaphor of abstract sonorities built up in trilogy, but, very attentive to the real. So is our stated intention to close the record with a small tribute to that remain of an already distant past, which yet continues being present, asynchronous. It is called Éliane. Maybe it’s a synonym of future. Who knows? Psychoanalysis refers to the frontier as an empty signifier: it embodies an interior and an exterior. The last album of the trilogy we set out to puts us there. On top of a vast set of remains whispering to us. Remains, because they have been left behind, because they are no longer useful. And yet, usefulness is something that tells little or nothing to us, artists. Quite the opposite. For this very reason, this new album is made up of these testimonies that whisper their condition very strongly to us. From the top of this pile of whispering remains we have achieved something that is precious to us: time, in its three dimensions, and not enclosed in that kind of perpetual present where they want to force us into, in a timeless time. https://www.movingfurniturerecords.com/haarvol-ridge-of-humming-spoils/ https://haarvol.bandcamp.com/album/ridge-of-humming-spoils	2020	€12.00
HAERETICI 7O74	Haeretici, Schismatici, Excommunicati	maxi-CD-R	Document of a live show which took place in Tampere, Finland, January 2006, by this project of OVRO and NIKO SKORPIO: Loops, dark drones, strange digi-noises, deformed voices, all strange & surreal… infiltrating & sinking in your subsconsciousness…. Hard to say what it really is… “Hæretici 7o74 is a duo of Ovro and Niko Skorpio. Joining forces, the artists bring together the more meditative and ritualistic elements of their solo works, blending it to something completely new. Recognizable, but distinct. Hæretici 7o74 concentrates on live performances, enjoying the organic and interactive feel of playing live, with its often surprising turns and twists. Haeretici, Schismatici, Excommunicati is the band's first release, and contains the recording of the group's live performance at club Syntesia in Tampere, Finland in January 2006. Here, deep dark ambient soundscapes meet creeping rhythms and ecstatic oriental vibes. This is musical heresy, where the alchemical potential of not playing by the rules or expectations comes abloom. Purists, clinging on to their cherished dogmas in the dust of their crumbling temples, will be itching to burn these heretics alive.” [label info]	2006	€6.50
HALL OF MIRRORS	Reflections on black	CD	Italienische dark ambient supergroup, ein Kollaborations-Projekt von AMON, NEFELHEIM und NIMH !! Dunkel, melancholisch, aber auch ausschweifend ausserweltlich & geräuschhaft.. eine perfekte Synthese der drei Projekte, exzellent! "Recorded during the summer of 2005 by NEFELHEIM and DANIELA GHERARDI. "Reflections in Black" was the predecessor to the "HALL OF MIRRORS" project (a dark transmission from the hearts and minds of AMON and NIMH). Instruments used to make these sounds were constant companions of the artists for days-on-end. This document utilizes an immense range of synthesizers and obscure electronic equipment. Complex compositions created with various sequencers, backing tapes, field recordings, electric guitar, and masterful audio processing techniques, combined with expert assembly (mixing/digital editing). With "Reflections in Black", AMON and NIMH redefines the genera of dark ambient music. A definite buy for fans of Lustmord and darker/gothic atmosphere. Isolationistic music for midnight rituals. Post-millennium soundscapes. Intensely foreboding... like watching storm coluds gather on a late summer night. Darkest beauty personified." [label info] label: www.silentes.net	2007	€13.00
HALL, FRANK	I remember you (O.S.T.)	CD	We are extremely proud to release the official soundtrack to the cult Icelandic horror film 'I REMEMBER YOU' (Is: "Ég man þig"). Heavy dark ambient / industrial / orchestral soundscapes composed by Frank Hall, with a beautiful, solemn, folkloristic finale featuring Icelandic choirs. A must for fans of Graeme Revell, Steven Price, Lustmord, MZ.412. Digipak. Watch the trailer: youtu.be/UWIh4wgrHLg The soundtrack was created at the old industrial area of Grandi in Reykjavík, at a studio due to be 'gentrified' and forcefully emptied of the artists. "I was alone in this large building in this deserted area, working late hours, making music for a horror movie. It was during winter... wind blowing, darkness. There were some tense moments...". "As soon as I read the script I heard low brass in my head and that kind of stuck. We used a lot of brass instruments, filtered and processed throughout. I also ended up using a lot of bowed guitar, sometimes doubling the brass, sometimes more like a sound effect". Hall also used analogue synths on the special climactic track "Montage". On the finale, Hall reminisces: "Móðir mín í kví kví (My Mother In The Sheep Pen) is an old Icelandic folk song. The lyrics are based on Icelandic folklore about a woman who had a baby which she couldn't afford to have and left it outside to die, wrapped in a rag. The infant then becomes what we Icelandic call "Útburður" - the ghost of a child who has been left out to die. Some time later the woman wants to go to a dance but has no pretty clothes to wear. She is in the sheep pen attending to the sheep when she hears this whispering outside: "My mother in the sheep pen, don't you worry because I'll lend you my rag, my rag to dance in". It's a rather ominous lyric and this song is sometimes sung for Icelandic babies as a lullaby... a little odd custom perhaps. I remember my mother singing this to me. This is one of my favourite Icelandic folk songs, and when I created the music for "I Remember You", which is about a lost child that haunts people, I suggested to director Óskar Thór Axelsson that I should make an Icelandic choir version of it and use it as a theme / credit song. He loved the idea". 'I Remember You' is based on the internationally acclaimed novel by Yrsa Sigurðardóttir, the "Queen of Icelandic Crime". https://coldspring.bandcamp.com/album/i-remember-you-skar-th-r-axelsson-o-s-t-csr287cd	2021	€13.00
HAMILTON, TOM / BRUCE EISENBEIL	Shadow Machine	CD	SHADOW MACHINE is the first CD by Tom Hamilton and Bruce Eisenbeil, who began playing music together in 2007. Coherence without predictability, speed without tempo, direction without a roadmap - an unlikely foray into the world of out-jazz and free improvisation. It's a duo that thwarts expectations of its specific instrumentation. The artists hybridize the language of electronic sound through Eisenbeil's guitar and Hamilton's virtual analog synthesizer, and the live-in-the-studio tracks insure that the performances impart maximum physicality and spontaneity. Their aim is to generate new forms, new ways of listening, new definitions of music. Equal rights for all sounds is one goal, and since each musician is a maximalist, a dizzying array of sounds and techniques are employed to sustain a visceral experience. Contrasting sonic elements are played one against another, simultaneously and successively. Modern jazz and improvised music have just now begun to really embrace the language and sounds of electronics; these two artists are positioned on the forefront of a trend that aims to subvert orthodoxy and challenge old assumptions. Tom Hamilton has been composing and performing for over 40 years, and his work with electronic music originated in the late-60s era of analog synthesis. He often explores the interaction of many simultaneous layers of activity, prompting the use of "present-time listening" on the part of both performer and listener. Hamilton appears on synthesizer in his own ensembles, and has participated in groups led by Peter Zummo, David Soldier, and Michael Schumacher. He has recently performed with Thomas Buckner, Lisle Ellis, Chris Mann, Al Margolis, and Jacqueline Martelle. Hamilton was a 2005 Fellow of the Civitella Ranieri Center in Umbria, Italy. His CD London Fix received an award in the 2004 Prix Ars Electronica. He is a longtime member of composer Robert Ashley's touring opera ensemble, and his work can be found in over 60 CD releases of new and experimental music. The Wire has described Hamilton's music as "colourful and seductive," and Gramophone has noted that "the results bubble with energy, a veritable counterpoint of indeterminacy." And Hamilton is cited in Kyle Gann's American Music in the 20th Century as "New York's leading improvisor on analog synthesizers. Composer/guitarist Bruce Eisenbeil was born in Chicago in 1963 and grew up in Plainfield, NJ. He began playing the guitar when he was four and performing professionally since he was 15. Throughout the 1980¹s he played jazz and R&B. Since then he has performed and/or recorded with: Cecil Taylor, David Murray, Evan Parker, Ellery Eskelin, Karl Berger, Perry Robinson, Milford Graves, Badal Roy, Andrew Cyrille, Edgar Bateman, Nasheet Waits, Lukas Ligeti and many others. He has twelve CD's released on a variety of labels, including: ESP, Nemu, Konnex, Cadence, C.I.M.P., and Nine Winds. Recent recordings include TOTEM, Inner Constellation, and Home Again. Guitar Player magazine has published a detailed article on Eisenbeil¹s history and musical inventiveness in the May 2009 issue. About his work, Harvey Pekar in JazzTimes has said, "Eisenbeil is one of the most unique jazz guitarists to emerge in decades." Downbeat called his work "Strikingly original." And The Wire wrote that he has, "A distinctive voice. About as revolutionary as music can actually get." [press release] www.pogus.com	2009	€8.00
HANSEN, LARS LUNDEHAVE	Terminal Velocity	LP	"Lars Lundehave Hansen has for many years distinguished himself as one of the most visionary Danish sound artists. Not least, he has been a key name on the Danish scene of noise and drone as part of Noisejihad and as part of the duo Wäldchengarten. He has also distinguished himself through a series of solo releases and sound-installations, both in Denmark and internationally.This time "Terminal Velocity" shows his excellent ability to build a sonic space which is both dreamy yet physical. Work on the album took place at the legendary EMS / Elektronmusikstudion in Stockholm and resulted in no less than 21 vignettes that are included on the vinyl record. "During my stay I tried to rethink the ways to reate atmospheric ambient and tried to incorporate this genre into a classic pop rock format, which, if anything, can be said to be in stark contrast to elongated ambient. The result is a series of electronic drones that without sacrificing the formal structures such as lead-in, motif, ascension/descension and climax, will be conducted in 3 minutes or less. The songs hold melodic scales, the noise is in tune and some of it can even be considered a kind of compositional style exercises disguised as music." Over the years, the musical work of Lars Lundehave Hansen has focused on challenging compositions and an exploration of the spaces between tone and noise running parallel to music in the usual sense. It may be a peculiar niche but has until now been extremely rewarding in terms of recognition, awards and prices at home and abroad, including the Danish Arts Foundation and Honorary Mention in 'Digital Music and Arts' category at Ars Electronica in 2011. Lars Lundehave Hansen has performed worldwide, from Brazil, Japan and China to India and all across Europe. Recent Danish performance was as supporting act to the legendary William Basinski in front of a sold-out hall at Jazzhouse." [credits] www.larslundehavehansen.dk www.larslundehavehansen.dk	2016	€18.00
HARKO CITY	Harko City	CD	"Harko City is a cult industrial/ horror electronics project of Evan Price and Cory Rowell (Demonologists). The debut album for Harko City contains 15 tracks, 4 of which have the guest artists Sensational, Leila Abdul-Rauf and Lynette Cerezo (Bestial Mouths). You may be familiar with two of tracks on this album from being previously featured on Malignant Records / Kalpamantra comps Recrudescence and The Portrait of Mortality." https://phagetapes.miiduu.com/harko-city-cd https://phagetapes.bandcamp.com/album/harko-city	2020	€10.00
HARRIS, MICK & MARTYN BATES	Murder Ballads (Drift)	do-LP	For the first time on LP vinyl Post-Isolationist - Deep Ambiance & Folksong re-emerge in this first vinyl outing of the classic 'Murder Ballads' (Drift) by M.J. Harris / Martyn Bates Limited Textured Sleeve + Marbled Vinyls "Leaving nothing behind but the wild birds to moan" Rarely do two types of music meet on a level where they threaten to cancel each other out - let alone create something even more meaningful in their mutual vanishing. But the music created within the seminal Murder Ballads (Drift) by Martyn Bates (Eyeless in Gaza, & parallel solo career) and Mick Harris (Napalm Death, Lull, Painkiller, Scorn) creates just such a world. Murder Ballads (Drift) evolves Martyn Bates vocalisations / storytelling song-voices, by turns expressed as labyrinthine layers, calls and responses, muted and distant echoes, sung whispers and counter-melodies, ultimately resulting in a mesmeric conversation of musical inferences and correspondences. Murder Ballads (Drift) created the post-isolationist frame of reference, innovating and extemporising into a truly original dazzlingly unique form. Mick Harris traffics in the isolationist ambience of Lull, while Martyn Bates is the emotive voice of literate cult-pop duo Eyeless in Gaza. The unlikely pair - one given to terminally frigid drone, the other to impassioned, bittersweet voicings - finds common ground in folk music's most macabre tradition, the murder ballad. These ghoulish parables are awash in blood and tears, the strands of love, hate, birth, death, sin, and salvation entwined within like the roots of an ancient tree. Mothers callously kill their children; suitors slay their maidens without remorse; and fate exacts its cruel price from all. The archaic murder ballads that leak from Bates' vocal cords are intensely sad and carnal. They tend to leap off cliffs of hollow effects or drone darkly, offering neither a robust delivery nor an element of irony to take the edge off. The archetypal characters that live and die in them give life's full tragedy back to Harris' electronically numbed "post-isolationist" dreaming. Drift (originally released in 1994) plays out an unbreakable and timeless cycle of bloody folklore (people) and hypnotic soundscapes (the god who watches). The effect is chilling yet engrossing. Where most ambient music has barely enough courage to ring the doorbell and run, Murder Ballads slips through the cracks of the unconscious and does its work with remarkable ease. All the more reason to listen thoughtfully. In 2021 - re-emerging nearly twenty years after its initial inception - somewhat surprisingly, Murder Ballads (Drift) still remains/exists in an area overlooked by other artists, an area that truly still remains the sole province of M.J. Harris / Martyn Bates. https://subrosalabel.bandcamp.com/album/murder-ballads-drift	2021	€20.00
HASEGAWA, HIROSHI (長谷川洋)	Ascension No. 999	CD	"Hiroshi Hasegawa's musical roots go back to the late 80s, where he started as a pioneer under the Japanese Experimental Electronic artists. Hasegawa is the man behind C.C.C.C., ASTRO, MORTAL VISION, TRANCE and other projects. He released also several works together with Akifumi Nakajima from AUBE. Ascension No.999 is his first album under his real name (besides a split LP from 1988) and it's also his very first ultra-noise work! The sounds vary from experimental cut-up noise, over droning sound-walls, to screaming high frequency manipulations. Some passages even remind to early Säköh/Panasonic vinyls. Cover-design by Yoshihiro Nakano." [label info] www.steinklang-records.at	2008	€8.00
HATED BRUIT KOLLEKTIV	Aktion One	CD-R	Noisiger Zusammenschluss dreier polnischer Projekte auf neuem Label, nach einem ironischen Jodel-Folk Song Einstieg breitet sich ein gut arrangierter Industrialnoise One-Tracker aus, eher im bassig / tiefnoisigen Bereich, mit sehr schönen atmosphärischen, fast dark ambienten Abschnitten.. Kommt in grossformatigem, dicken Postercover. "HBK is an ephemeric project held among musicians behind Genetic Transmission, Moan and Nojsens. Three minds, three individualities, tree artists sharing one inspired vision. These are people we know for years so it became somehow natural to invite their bastard child to our NN therapy group finally, starting the "Harsh Kontakt" series of relases from now on. The sound sculpture presented hereby has been captured at Bez Kontroli Fest 2007 as probably HBK's best gig to date. Expect the unexpected, as they have gone the whole hog, without no mercy to the audience or themselves. OK, it's all there: refreshing traditional industrial, warming harsh noise, stoned bruitist plunderphonics, and last but not least—good taste and the fucking clue, VSOP. The packaging consist of a huge, A2-sized heavy stock poster folded to form A5 sleeve housed in a solid plastic wrapper. Limited to 250 hand numbered copies." [label info] www.newnihilism.com	2008	€10.00
HAUSCHKA & HILDUR GUDNADOTTIR	Pan Tone	LP	https://hauschkamusic.bandcamp.com/album/pan-tone 2022 Repress, white Vinyl, full tone cover artwork, incl. printed inner sleeve, edition of 500 copies Volker Bertelmann and Hildur Guðnadóttir hardly need an introduction - their distinct styles have graced the speakers of pretty much anyone enamored with experimental music in the last decade, and between them the two have chalked up an enviable canon of successes. Bertelmann, under the Hauschka moniker has explored the extremities of prepared piano improvisation, and Guðnadóttir has taken cinematic, explorative cello music into a new era of depth and passion, so to hear them both together is a rare and unexpected treat. Rare is putting it lightly even - „Pan Tone“ is a recording of a single concert which the duo performed on the 26th of February 2010 as part of Arctic Circle - Bubbly Blue and Green festival at Kings Place in London, and documents an event that would truly never be repeated. Sure, they could attempt to re-create the event, but the spontaneity and glorious serendipity in this particular recording is a pleasure to behold. Bertelmann and Guðnadóttir decided to create a set of compositions which based on the idea of the ocean, and took a book of Pantones to extract exact references to the specific colors of the sea. These watery tones form the backbone of the performance and inform the direction of the collaboration, guiding us through rich blues, glassy greens and frothy whites. In listening to the music it seems incredibly appropriate that the artists should choose blue as the middle ground in their work; the ineffable lightness that Bertelmann brings to the table is a stark contrast to Guðnadóttir´s sinking darkness, and as the two styles collide we witness a plethora of tones, shades and hues. It sounds as if the two artists have been playing together for decades, and their sound is so perfectly matched you might wonder why it´s taken them this long to collaborate. All that´s left for us to do is to soak in the tidal beauty of this very exclusive body of music, to listen to it sing, bubble and crash through its duration before settling in total silence. When the record reaches its conclusion there is an unsettling calm, a sense that you have witnessed something very special indeed, and that is a feeling to prize amongst all else.	2022	€25.00
HAYNES, JIM	Flammable Materials from Foreign Lands	LP	The new LP from Jim Haynes is a haunted and provocative endeavor, rust-covered and mysterious. It is the result of an immersive listening/recording process through which Haynes' singular techniques intersected with an unfamiliar, disquieting landscape.... "The album was mostly composed, recorded, and sketched during an Estonian residency at MoKS for a program that was hosted by Simon Whetham and John Grzinich called Active Crossover. The goal of that program was to bring together various artists whose work pertained directly or indirectly to environmental recordings. When John asked me about what kinds of spaces I was interested in seeking out before I arrived, I mentioned that I would like to investigate sites that had a considerable amount of electro-magnetic disruption which I could capture on radio along with sites of psychic distress. The Estonian landscape is pocked with abandoned buildings of considerable size and decay. Many of the excursions for Active Crossover engaged the large crumbling Soviet-era structures. Given that the electricity was off in many of these sites, I had to rely on shortwave to capture any electro-magnetic disruptions instead of any fluctuations from shitty wiring or weird Soviet power transformers... and the radio reception from that particular time and that particular place (i.e. southeastern Estonia) was eerie and unsettled. The crackle, drone, and noise is unlike that which is heard in the United States, looming with a (possibly perceived) paranoia of the Russian state just a few kilometers away. That said, Estonia had experienced an encroachment from Russia as the Russian military kidnapped/extradited an Estonian intelligence officer who was on Estonian soil at the time not too far from where I was staying. Given the contemporary military actions of Russia reclaiming Crimea from Ukraine, this incident put many an Estonian on edge. The A-side to Flammable Materials reflects this aestheticized paranoia through bursts of static, pulsed noise, and atonal sinews of sustained frequency. The B-side is wholly more introspective, cutting up an Estonian radio broadcast into phonemes, disjointed phrases, and cryptic speech. What few words that can be recognized from the Estonian pertain to the forces of globalization. From the context of someone who understands very little of the language, these snippets of a female voice clip like a surrealist collage or a Dada poem. Compositionally, I was thinking very much of Robert Ashley's Purposeful Lady Slow Afternoon and the Nurse With Wound recontextualization of such sounds." - Jim Haynes Based in California, Jim Haynes has exhibited internationally at the San Francisco Museum Of Modern Art, the Lausanne Underground Film Festival, the Berkeley Art Museum, WestSpace (Melbourne, Australia), and Diapason (New York). Recorded media has been published through Editions Mego, Ghostly International, Drone Records, Hooker Vision, Intransitive, Semperflorens, Elevator Bath, and The Helen Scarsdale Agency. He has also been awarded residencies at the Djerassi Resident Artists Program (California), Recombinant Media Labs (California), Jack Straw Productions (Seattle), and MoKS (Estonia). He has participated in a number of fruitful collaborations with Loren Chasse, Keith Evans, Steven Stapleton, and M.S. Waldron. Until 2015, Haynes was the Vice President and Curatorial Director for 23five Incorporated, a nonprofit organization dedicated to the development and increased awareness of sound arts within the public arena. He is also the lone occupant at The Helen Scarsdale Agency. Flammable Materials from Foreign Lands has been issued as a clear vinyl LP with gorgeous matte-finish jackets featuring artwork by Jim Haynes. Mastered by James Plotkin, it has been released in a limited edition of 300 copies. Every copy purchased directly from Elevator Bath will include a download code for high quality files of the entire audio content of this LP. Total running time: 38 minutes https://elevatorbath.bandcamp.com/album/flammable-materials-from-foreign-lands "For his two most recent (near simultaneous) releases, Jim Haynes has scaled back his audial representation of decay to something a bit colder and more intentionally off-putting. Both albums are largely based on field recordings taken from a residency in Estonia, and capturing the detritus of Soviet era electronics (and some still active) via shortwave and then processing the results. The final products may be somewhat sparser than his other works, but no less fascinating, and with an additional menacing edge. On the first side of the Flammable Materials record, Haynes presents three pieces that are perhaps the most inline with his previous works. Treated static and radio interference is unsurprisingly a recurring theme of the record, but are especially prevalent on the opening piece "Of Blast and Bleach". Here Haynes mixes it with some sort of idling motor sound that is fittingly inconsistent. Elements of the static and noise are shaped into some sort of rhythmic structure that contrasts the abstract remainder of the composition very effectively. Haynes takes on a more noise-centric approach on "Nyet". First a lava-like wall of harshness with the occasional tone slipping through, it is quickly broken back down and built back up, with an emphasis on shifting filters obscuring the low register part of the spectrum. For "E. Kohver" he takes on the opposite approach to the structure and arrangement. This piece is mostly a heavy, imposing drone with metallic tinged machinery noises that never goes full on dissonant, but stays sinister. At times the shortwave static is molded into that crackling texture-like sound that Haynes does so well, but the whole piece is very menacing and dynamic. The other side of the album is dedicated to a single piece, "Electric Speech: Nadiya". A bit over 20 minutes, the composition is based solely on the radio broadcast of a woman speaking. Of course Haynes also makes use of the static and noise inherent to this type of recording, but in general he embraces minimalism more. The source material voice appears frequently, cut into fragments and phonemes that are anything but identifiable words, regardless of the language being spoken. As a whole it is a different style he is working in, with that singular focus and an impressive use of silence to contrast the more commanding moments. [....] Both of Jim Haynes' newest works are exceptional additions to his already impressive body of work. The Throttle and Calibration tape is probably the less adventurous of the two, but is still a work deeply embedded in his style without being any sort of retread or replication of material he has already done. Flammable Materials from Foreign Lands benefits from its unique conceptual direction and focus, but really neither one is better than the other, and both are just excellent works from someone who has done an admirable job developing a career of sound art that always stands strong as utterly unique and fascinating." [Creaig Dunton/Brainwashed] "For well over a decade now, the Californian noise/drone (de)composer Jim Haynes has pursued a single-minded research into the sound of decay. Shortwave radio transmissions and convulsive motors are a few of the sources that are modulated and amplified into his psychologically tense, hauntological recordings. His 2016 album Flammable Materials From Foreign Lands rises from the eruptive strategies found in John Duncan's extrapolations of empty radio signals with parallels to be found in the mutated electro-acoustic dynamics found in contemporaries like Kevin Drumm and G*Park. One of the foreign lands in question to this flammable album is Estonia where he rummaged through abandoned Soviet-era ruins and collected disquieting shortwave signals. The other land is California with its own darkened psyche they roils beneath the mythologies of eternal sunshine. It's not so much a dialect as an accretion of static, grit and phased electro-magnetic disturbances – amplifying the neurosis and anxiety from a slow poisoning through psychological and/or environmental means. The first side of the album is pocked with convulsive crescendos which aggressively shove through Haynes' accumulated materials. The tracks rise to a boiling point, snap at the excessive pressure and collapse into a hypnotic fog. The second side is a single-sided collage of deconstructed/disembodied voice. Haynes clips and chops the mellifluous voice of an Estonian radio host (perhaps Tallinn's answer to Terri Gross?) into elemental gasps and utterances that rhythmically tick against an unsettled minimalism built from long, thin-wire recordings. Here, the strange and unsettled composition of voice and drone hauntingly resembles Alan Lamb's telegraph recordings poured into the empty spaces of Robert Ashley's Automatic Writing." [Stranded]	2016	€22.50
	Inauspicious	LP	In a recent interview, the California artist Jim Haynes was asked to name his top five noise albums. In quick fashion, he listed off Kill The King, Send, Desnos, Persona, and Carcinosi. Since then, he's equivocated on which albums to choose, but the artists behind such works remain as the adjacent signposts and landmarks to his own constructions of industrial noise. How those records connect to the output from Haynes is found in their unique combination of smoldering dynamism and psychological inquest. For over twenty five years, Haynes has been an autodidactic clinician into the processes of corrosion, decay, and rust, turning his attention away from visual practices and more to the metaphoric crucible of noise and sound. By now, it seems like a cliche that the pandemic changed everything; but since that viral encroachment, there is a noticeable shift in Haynes' work post 2020. It's more aggressive and yet more controlled: a rarification and telescoping of the research into decay for more potent noise and more potent metaphor. The tools for Haynes' work remain limited: motors, electronics, shortwave radio, found objects, all applied with considerable pressure. Compositionally, Inauspicious is a very rough moire pattern from overlapping elliptical structures that can negate and obfuscate just as easily as they can compound and aggregate. The album surges and collapses upon the two twenty minute chunks of controlled noise that follow an internal logic that snakes from brooding power drones, spectral radio transmission, and an aktionist demolition cast upon metal, glass, and unfortunate wooden objects. Rupture and release. Purge and pulse.	2023	€22.50
HECKER, FLORIAN	Resynthese FAVN	10 x CD BOX	blankformseditions.bandcamp.com/album/resynthese-favn-2 Resynthese FAVN is a ten-CD box set and publication presenting a new realization of Florian Hecker’s 2017 thirteen-channel installation of the same name. First exhibited at Kunsthalle Wien in the exhibition “Halluzination, Perspektive, Synthese,” and elaborating upon ideas first presented in the 2016 project FAVN, the ten works that comprise Resynthese FAVN present iterations of a synthetic timbre produced using machine-listening processes of analysis and further resynthesis —the sonification of a machine caught in the act of listening to itself. Accompanying the audio are three booklets containing three new essays offering critical and historical context for the work, developed in collaboration with the British publisher Urbanomic. FAVN and its resynthesis point back to Stéphane Mallarmé’s 1876 poem “L’Après-Midi d’un Faun,” and its subsequent musical and choreographic interpretations by Claude Debussy and Vaslav Nijinsky. A faun, straddling reverie and reality, recounts a sensuous meeting with several nymphs. It is unclear whether the experience was an illusion; asks the faun, “Did I love a dream?” Hecker, in turn, asks listeners to examine their own sensory perceptions. What forms do our human minds make out of the algorithmic timbres and synthetic voices that unspool across the versions of Resynthese FAVN? Sound drags, ascends, chirps, warps, and growls with manic irregularity. Definite but indescribable differences emerge across the ten 53-minute tracks. Language—occasionally emerging through a synthetic voice, sourced from a libretto written by Robin Mackay—proves unstable within the hallucinatory textures set loose by Hecker’s composition. As chimeric shapes materialize and fade away, one might further ask: are we listening for the faun, or do we become faun through listening? Across the three newly published essays, Quentin Meillassoux contextualizes the character of the faun in Mallarmé’s poem; Noé Soulier assesses the embodied translation of “L’Après-Midi d’un Faun” in Nijinsky’s 1912 ballet; and Han Han and Vincent Lostanlen consider the trajectory of timbre, from the enlightenment to our computational present. Florian Hecker is a German artist whose works across synthetic sound, installation, and performance consider sensory perception and the audience's auditory experience. He has collaborated with artists including Aphex Twin, Cerith Wyn Evans, Russell Haswell, Mark Leckey, and Yasunao Tone. Written and produced by Florian Hecker, 2017/2024 Texture and voice analysis and resynthesis algorithms: Axel Röbel, and members of the Analysis/ Synthesis Team, IRCAM, Paris Sound spatialization design: Alberto de Campo Original FAVN libretto: Robin Mackay Mastering: Rashad Becker	2024	€89.50
HEIRS	Alchera	LP	"... Durch die bereits angesprochene Monotonie bekommen die Lieder eine wirklich unaussprechliche Brachialität verliehen, die aber nie auszubrechen droht, wie zum Beispiel ähnlich gelagerte Bands wie Pelican oder Explosions in the Sky. Auch verzichten die HEIRS komplett auf Gesang oder orchestrale Untermalungen, und so stehen sie mit ihrem kargem und brachialem, aber dennoch wahnsinnig emotionalen Sound so ziemlich alleine da. Spiralförmig ziehen die sechs Songs den Hörer immer tiefer in ein anderes Universum, lassen ihn dann wieder fallen, geben aber durch die stets aufkommenden und zutiefst befreienden Melodiebögen eine Hoffnung preis, die man so kaum gehört haben dürfte. Die HEIRS schaffen mit ihrem Debüt "Alchera" einen Postrock-Meilenstein, der sich vom Einheitsbrei stark abhebt, spielen mit dem Hörer ihr ganz eigenes Spiel, der nach dem letzten Song, dem ambienten "Russia" in einer Trance zurück gelassen wird, die er so schnell nicht vergisst. Natürlich wird "Alchera" vielen Leuten vor den Kopf stoßen, das ist ein ganz eigenes Universum, und lässt sich mit keiner Band aus diesem Genre vergleichen. Dabei haben die hier enthaltenen 45 Minuten Musik viel mehr, als man von einer Post–Band erwarten dürfte. Ein wirklich bemerkenswertes Debüt, das nicht nur frischen Wind mit sich bringt, sondern die neuen Scheiben von MONO, PELICAN und Co ganz klar hinter sich lässt. Eine wunderschöne Aufmachung gibt es obendrauf. Alles richtig gemacht." [In-Your-Face] "Heirs is the marriage of dark and light. The pain and hopelessness of addiction vs the elation of freedom. The name Heirs originates from an ideal of "hunting and gathering" musical ideas, and formulating these ideas into an improved version. To write music without paying some sort of tribute to the artists influencing your everyday subconsciousness is a dishonest practice. The name stands as a allegory - to be the Heirs of a musical history and to expand on this, becoming a part of history themselves. Heirs began as a solo project by Damian Coward (Maps, Love Like... Electrocution) in late 2006, founded by a importunity to create a personal sound and direction. Heirs expanded its lineup during 2008 and consists of Brent Stegeman (Whitehorse, Love Like... Electrocution) and Ian Jackson (Damn Arms) on guitars, Laura Bradfield on bass and Coward on drums. Heirs' debut full-length "Alchera" is a 43 minute movement of oppressive instrumental power, cyclic ritualism and bleak hallucinogenic revelation. Recorded at Head Gap Studios by Neil Thomason in the heat waves of Melbourne in January 2009 and mastered by James Plotkin (Isis, Khanate, Burning Witch), the 6 pieces recorded capture the band's live volume - a blanket of sound traversing a rolling dynamic landscape. Drawing influence from Michael Gira and his Swans legacy, the sledgehammer riffs and industrial pummel of Godflesh, and continuing Stegeman's incense shrouded low-end incantations from his work with doom dealers Whitehorse, combined with Jackson's reverb-soaked noise, Alchera strips bare the needless excesses of post-rock and heavy metal in favour of something much more concise and affecting. A lurching, drugged-out specter - holding solace in one hand, and vengeance in the other. From the seething metallic buzz and bluster of the opening track "Plague Asphyx", through to the crowning low-end droning turbulence of "Russia", the recording is an archetype for an existence shrouded in confusion, joy, disappointment and addiction. Heirs are touring Nationally throughout Australia, New Zealand, Japan and Europe/UK for the rest of 2009. Dates can be found on their website - www.heirs.com.au." [label info] www.denovali.com	2009	€23.00
HELVACIOGLU, ERDEM	Timeless Waves	CD	"NEW SERIES FRAMEWORK: An extension of our CONCRETE ELECTRONICS NOISE, a brand new mix-up of unusual conceptions of sound material by young unknown composers, well known not-so-young composers and old but clever composers. Timeless Waves originally composed for a 47 channel / 53 speaker diffusion system running on The Morning Line, is a sonic work based on six basic human emotions. The CD is a stereo version of this multichannel work. The piece has been inspired by W. Gerrod Parrott's book "Emotions in Social Psychology" and has been commissioned by Thyssen-Bornemisza Art Contemporary (T-BA 21) for The Morning Line - an interdisciplinary art project by Matthew Ritchie, Aranda/Lasch and Arup AGU - and premiered in May 2010, when the project was exhibited at Eminonu Square in Istanbul. Sonically, Timeless Waves is based on the timbres of Togaman GuitarViol, Gibson Les Paul electric guitar, sine waves, various analog pedals and hardware fx processors. The music combines elements from genres such as electroacoustic, drone, noise, contemporary music blended with minimal melodies. Erdem Helvacioglu was born in Bursa, Turkey in 1975. He is one of the most renowned 'contemporary electronic music' composers of his generation in Turkey. His music has been broadcast on national radios such as BBC, ABC, WDR and Radio France, among others. He has received commissions from the 2006 World Soccer Championship, TBA 21 The Morning Line, Borusan Center for Culture & Arts, Arter "Space for Art", The Association for the Art of the Harp, Novelum Contemporary Music Festival, International Istanbul Biennial(IKSV) and the world famous new music ensemble Bang on a Can-All Stars. His sound installations have been included at museums and galleries such as 10th International Istanbul Biennial, Los Angeles Track 16, Indonesia Soemardja, Köln Museum für Angewandte Kunst, London Menier Gallery. His film music has been heard at Cannes, Sarajevo, Locarno, Seoul, Sao Paulo, and Sydney film festivals and he received the 'Best Original Soundtrack' award in the 2006 Mostramundo Film Festival. He has received prizes for his electroacoustic compositions from the Luigi Russolo, MUSICA NOVA and Insulae Electronicae Electroacoustic Music Competitions. Erdem Helvacioglu has collaborated with artists such as Mick Karn, Jacob Young, Elliott Sharp, Kevin Moore, Luo Chao-yun, Robert Scott Thompson, Stuart Gerber, Craig Green, Bill Walker, Nathan Larson, Nina Persson, Todd Reynolds, Kinan Azmeh, Jeffrey Roden, Ros Bandt, Stefan Ostersjo, Per Boysen, Sirin Pancaroglu and Saadet Turkoz. Erdem Helvacioglu's music has been released on labels such as Locustmusic, New Albion, Aucourant, Quiet Design, chmafu nocords, Pozitif, Sargasso. His solo and duo albums have been included in the 'best album of the year' lists on All About Jazz, Textura, Cyclic Defrost, Blogcritics, Culture Catch, Perfect Sound Forever and Guitar Player magazines. www.erdemhelvacioglu.com" [label info] www.subrosa.net	2012	€13.00
HENNIX, CATHERINE CHRISTER	Unbegrenzt	LP	Unbegrenzt is the third in an ongoing series of archival records of the unheard music of Swedish composer Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It follows Selected Early Keyboard Works and Selections from 100 Models of Hegikan Roku (named the #1 archival release of 2019 by The Wire), in addition to a two-volume collection of Hennix’s writing titled Poësy Matters and Other Matters. Recorded in February of 1974 and featuring Catherine Christer Hennix (recitation, percussion, and electronics) and Hans Isgren (bowed gong), Hennix’s realization of Karlheinz Stockhausen’s “Unbegrenzt” (German for “unlimited”) from Aus den Sieben Tagen is an elaboration both rigorous and radically different from the canonical 1969 recording issued by Shandar. The collection of 15 text pieces written in Paris during May of 1968, Aus den Sieben Tagen, denies its performers notated direction and instead provides poetic cues that hinge upon Stockhausen’s conception of “intuitive music,” a Eurocentric perspective on improvisation antithetical to the vernacular forms Hennix had engaged with as a young drummer performing in Stockholm jazz clubs with musicians like Bill Barron, Cam Brown, Hans Isgren, Lalle Svenson, Allan Vajda, Bo Wärmell, and many others. While both Hennix and Isgren saw the formal prospect of Aus den Sieben Tagen as a productive development of and beyond La Monte Young’s event scores, she here steadfastly counters his rationalization of intuition with the Principle of Sufficient Reason. (Cf. Brouwer’s Lattice.) Eschewing the busy, conservatory-addled lapses into idiomatic citation of Stockhausen’s 1969 recording, Hennix’s alternative realization of the “Unbegrenzt” score’s instructions to “play a sound with the certainty that you have an infinite amount of time and space” is based on her concept of Infinitary Compositions, the trademark of her ensemble The Deontic Miracle which, at one time, considered adding Stockhausen, La Monte Young and Terry Jennings scores to its repertoire. Taking a mature, minimal iteration of Stockhausen’s compositional method of “moment-forming” to heart, her version’s dark, controlled feedback and amplified bowed gong subtly shift through an immanent sequence of formative moments, step by step. Its bubbling computer noise, percussion, and repeated ominous transient sounds of temple blocks over the bowed gong terminate with the integrated recitation of exotic text fragments from Hevajra Tantra which faithfully take Stockhausen’s score into deeper vistas of the unconscious and a more devastating opening to the unlimited time and space of a dreaming mind. Audio restoration and mastering by Stephan Mathieu, with an essay by Bill Dietz. Catherine Christer Hennix (b. 1948) started her creative life playing drums with her older brother Peter, growing up in Sweden where she heard jazz luminaries, such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform from 1960 to 1967. Directly after high school, Hennix went to work at Stockholm’s pioneering Elektronmusikstudion (EMS), where she developed early tape music, incorporating computer generated speech done at the Royal Technological University (KTH), where she was an undergraduate student. After traveling to New York In 1968, she met artists Dick Higgins and Alison Knowles who invited her to stay at the Something Else Press Town House where she had the opportunity to meet, among others, composers John Cage, James Tenney, and Phil Corner. During the following years she developed fruitful collaborative relationships with many composers in the burgeoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath and she would later study intensively under him as his first European disciple. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky’s invitation) at MIT’s Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage, which has featured musicians Amelia Cuni, Amirtha Kidambi, Chiyoku Szlavnics, Hilary Jeffrey, Amir El-Saffar, Benjamin Duboc and Rozemarie Heggen. She currently resides in Istanbul, Turkey pursuing studies in classical Arabic and Turkish makam. https://blankformseditions.bandcamp.com/album/unbegrenzt	2020	€27.50
HENRIKSEN, ARVE	The Nature of Connections	LP + CD	"The Nature Of Connections" almost entirely features pieces composed by Arve’s collaborators. Recorded in the sparkling acoustic of Oslo’s legendary Rainbow Studio by Jan Erik Kongshaug, it’s an album with closer ties to Nordic folk and contemporary, minimalist chamber music than any of Arve’s previous releases. At the same time it features some of the most melodic and seductive music he has recorded. The trumpeter had planned to make an album with a string quartet for many years but never quite found the right formula. Finally, a special commissioned tour brought him together with violinists Nils Økland and Gjermund Larsen, cellist Svante Henryson and double bassist Mats Eilertsen, all of whom now appear as the central planks in "The Nature Of Connections". Another welcome guest is drummer Audun Kleive, veteran of Norwegian jazz ensembles including Oslo 13, JøKleBa!, Generator X, Terje Rypdal and Jon Balke. Seit 2001 hat er eine Reihe von exquisite Soloaufnahmen aufgenommen, die elektronische Texturen, Holzbläser, ethnische Instrumente, Percussion, Keyboards und seine traurige, sehnsuchtsvolle Stimme vereinen. Die Musik von ARVE HENRIKSEN zeigt gleichzeitig die atemberaubende Schönheit der unberührten Natur und die sich stetig verändernde kosmopolitische Umwelt des postmodernen Reisenden. ,The Nature Of Connections" ist das neueste Glied in einer sich stetig weiterentwickelnden Kette. Dies ist sein erstes akustisches Album, das sich um vier großartige Streicher rankt und mit einigen seiner wärmsten und organischsten Tracks aufwartet. Aufgenommen mit Jan Erik Kongshaug in der kristallklaren Akustik des legendären Rainbow Studios in Stockholm ist ,The Nature Of Connections" Jazz mit einer engen Verbindung zur nordischen Folklore und der zeitgenössischen minimalistischen Kammermusik. Arve Henriksen - trumpet, piccolo trumpet, piano, Nils Okland - violin, Hardanger fiddle, viola d'amore, Svante Henryson - cello, Gjermund Larsen - violin, Hardanger fiddle, Mats Eilertsen - double bass, Audun Kleive - drums" www.runegrammofon.com/artists/arve_henriksen/rcd2161-arve-henriksen-the-nature-of-connections-cd-lp/	2014	€25.00
	Towards Language	LP + CD	Arve Henriksen is a major representative of a golden generation of Norwegian jazz musicians. This is his ninth solo album (eight on Rune Grammofon and one on ECM), he has also released a dozen albums as a founder member of Supersilent and appears on well over a hundred records by artists like David Sylvian, Jon Balke, Trygve Seim, Imogen Heap, Arild Andersen and many more. With "Towards Language" trumpeter Arve Henriksen is back with his trusted long time musical partners Jan Bang and Erik Honoré. Arve first collaborated with the pair on the much loved and highly praised "Chiaroscuro" (2004), Arve´s second album, and later on "Cartography" (ECM 2008) and "Places Of Worship" (2013). Also an important part of the line-up is Eivind Aarset, the ECM associated guitarist extraordinaire. Mit ,Towards Language" ist der Trompeter ARVE HENRIKSEN mit seinen bewährten musikalischen Partnern JAN BANG und ERIK HONORÉ zurück. ARVE kollaborierte erstmals auf dem umjubelten ,Chiaroscuro" (2004) mit den beiden, auf dem Nachfolger und später dann auf ,Cartography" (ECM, 2008) und ,Places Of Worship" (2013). Ein ebenso wichtiger Teil des Lineups ist EIVIND AARSET, der herausragende ECM-Gitarrist. ,Towards Language" ist ARVEs neuntes Album (acht auf Rune Grammofon und eines auf ECM) unter seinem eigenen Namen. Außerdem hat er mit zahlreichen Künstlern wie DAVID SYLVIAN, JON BALKE, CHRISTIAN WALLUMROD, TRYGVE SEIM und TRIO MEDIAEVAL zusammengearbeitet. ARVEs Statement zu seinem neuen Album und dessen Titel: ,With this recording, the good help and inspirational artistic contributions from EIVIND AARSET and JAN BANG at the recording session in Oslo has led to these selected tracks. Music that has a connection to ,Places Of Worship but this time recorded ,live in the studio in a chamber music like approach inspired by contemporary elements from composers like TORU TAKEMITSU and MANUEL DE FALLA, to traditional organ music, and at the end of the album bringing in a traditional ,kven (ancient Nordic song tradition) theme from the roots of my family from the North of Norway, sung by Anna Maria Friman of TRIO MEDIAEVAL." www.runegrammofon.com/artists/arve_henriksen/rcd2192-arve-henriksen-towards-language-cd-lp/	2017	€25.00
	The Height of the Reeds	LP + CD	"The Height Of The Reeds" begann als Auftragsarbeit für die Stadt Hull, Großbritanniens Kulturhauptstadt 2017. Das von Arve Henriksen, Eivind Aarset und Jan Bang komponierte Werk feiert die langjährige Seefahrtsbeziehung zwischen Hull und Skandinavien. Ursprünglich war es der musikalische Begleiter eines Klangspaziergangs, der im April, Mai und Juni 2017 stattfand. Die Teilnehmer konnten die Musik über Kopfhörer hören, während sie die Humber Bridge überquerten. Ursprünglich nur für den April vorgesehen, erwies sich das Arrangement als so beliebt, dass es schließlich auf drei Monate verlängert wurde und stets ausverkauft war. Nur geringfügige Anpassungen wurden vorgenommen für den Übergang vom Sound Walk zum Album. Neben Henriksen, Aarset und Bang enthält die Arbeit wichtige Beiträge des Hull-Klangkünstlers Jez Riley French, der Field Recordings von der Brücke selbst liefert: den Fluss unten, das Geräusch von Motoren, das Knarren von Stahldrähten, Räder gegen Asphalt und das Lied der Schilfrohre im Wind. Der Chor und das Orchester der Opera North bieten den Solisten den nötigen musikalischen Raum, dazu lesen zwei Schauspieler und ein Kind aus übersetzten Gedichten des norwegischen Dichters Nils Christian Moe-Repstad. The first pressing of the black edition comes with a CD. "The Height Of The Reeds" started as a commissioned work to the city of Hull, Great Britain´s cultural capital 2017. Composed by Arve Henriksen, Eivind Aarset, Jan Bang and Jez riley French, the work celebrates the longstanding seafaring relationship between Hull and Scandinavia. It was originally the musical companion to a sound walk that took place in April, May and June 2017. Those who took part could listen to the music on headphones while crossing the Humber Bridge. Initially intended for April only, the arrangement proved so popular it ended up with selling out three months, a total of 15.000 tickets. This beautifully evocative music can now be experienced through this release, where only minor adjustments have been done to justify the transition from sound walk to album. It´s an exquisite addition to the artists individual discographies, and sits perfectly well with Arve´s popular contributions with Jan Bang on "Chiaroscuro" (2004) and "Places Of Worship" (2013).	2018	€26.50
	Chiaroscuro	LP	It´s about time that one of the absolute classics in our catalogue is finally available as a separate vinyl edition (it can also be found in the Solidification box set). Originally released in 2004, "Chiaroscuro" was Arve´s second solo album, it was hailed by critics everywhere and remains one of our most popular releases. One of this century’s first true modern classics, this 2004 album from Supersilent member and experimental shakuhachi-style trumpet player Arve Henriksen has long been a reference points for jazz music of the most quietly absorbing variety, containing what must surely rank as one of the most beautiful opening tracks of any album in recent memory... Replete with the breathtaking Opening Image and that beautiful cover art now blown up to 12” x 12”, this gorgeous record is quietly awaiting a slot in any and all collections of contemporary ambient, classical composition… "Chiaroscuro" ("light and shade") is quite an unbelievable listen - cinematic in a way that defies pastiche, a vast panoramic ocean of sound reduced to the most silent, heart-wrenching string arrangements, samples (courtesy of Jan Bang) and a whispered sweep of barely audible percussion (from Audun Kleive), hovering around Henriksen unique, mesmerising trumpet playing and broken voice. Boomkat (UK) If music is measured solely on its spiritual impact, then ”Chiaroscuro” is clearly a strong contender for album of the year. Allaboutjazz (US) A profound and singularly moving statement. BBC Online (UK) Certainly, this beautiful CD is the first recording to make me cry in a very long time. The Wire (UK) It's an extraordinary record now squatting my cd machine like a gentle dogkicker. Beautiful. Straight No Chaser (UK) One of the most telling and significant records in new Norwegian music in a long time. Dagsavisen (NO) I haven´t heard music this beautiful in a long time. A complete, organic, focused expression from beginning to end. 6/6. VG (NO) Released 05.05.17 www.runegrammofon.com/artists/arve_henriksen/rlp3037-arve-henriksen-chiaroscuro-lp/	2017	€25.00
HENRY, PIERRE	Un Monde Lacéré	LP	"Transversales Disques announce the release of the never released before piece Un Monde Lacéré by electroacoustic music pioneer Pierre Henry. This piece is a special tribute to Jacques Villeglé and his work. It is the world opening performance of this opus, recorded in studio Son/Ré. Pierre Henry was born in 1927 In Paris. He started studying music as early as the age of seven. In 1944, guided by Olivier Messiaen, he imagined and started composing music for the future. His meeting with Pierre Schaeffer was crucial for his creation. Inventing new technical composition processes which in time have become widely used on a large scale, he has constantly given this music a far reaching power no one expected at the start. He has also invented his own sound, as easily distinguishable as the sound of the most famous jazz musician." [label info] "Starting 2021 off with a bang, Transversales Disques is back with an absolutely stunning LP, 'Un Monde Lacéré', comprising a never before released, long-form work by Pierre Henry. A mind-bending example of the heights of Musique Concrète, by one of its most important pioneers, it remains years ahead of its time and challenges the perceived notions of how electronic music is understood to sound. Over the last few years, the Paris based imprint, Transversales Disques, has set a remarkable standard for archival releases, bringing us a treasure trove of previously unreleased recordings by Bernard Parmegiani, Pharoah Sanders, Luc Ferrari, Igor Wakhevitch, Philip Glass, Ariel Kalma, François Bayle, Ennio Morricone, and numerous others. While by no means the limit of their focus, the imprint has offered special attention to works by French pioneers of electronic music, particularly those associated with Groupe de Recherches de Musique Concrète (GRMC) and Groupe de Recherches Musicales (GRM). This incredible initiative now extends to one of the most important composers of them all, Pierre Henry, with the stunning LP, Un Monde Lacéré. Comprising a previously unreleased, long-form composition dedicated to the life and work of the artist Jacques Villeglé, Un Monde Lacéré is an absolutely stunning example of the heights of the late period in Henry’s visionary career. Transversales Disques has done it again, bringing forth an incredible body of sounds that doubles as a fascinating illumination of historical discourses between visual and auditory language in among the 20th and 21st century avant-garde. Electronic music sprang from utopian dreams. Its creators deployed new technologies in an attempt to liberate composers and audiences from the cultural, economic, and educational limitations that had haunted the music of the past. For a great many artists, this all began with musique concrète / tape music, a musical idiom, first theorized by Pierre Schaeffer during the early 1940s, that deploys pre-recorded sounds - sourced from virtually anywhere - as its raw materiality. Truly revolutionary in every way, perhaps more than any other avant-garde form, musique concrète radically expanded the notions of what music is perceived to be, what it is comprised of, and by whom and how it is made. There’s a strong argument that it was so radical and ahead of its time, that we’ve yet catch up. Among the idiom’s pioneers, few were as important, influential, or forward thinking as Pierre Henry. Henry was among the earliest adopters of musique concrète in France, joining Pierre Schaeffer at Club d'Essai studio at RTF in 1949, leading to a fruitful period of collaboration between the pair, and the subsequent founding of The Groupe de Recherches de Musique Concrète, as well as the first purpose-built electroacoustic music studio in 1951. A true maverick who deployed an intuitive and energetic attitude to the idiom, unlike many of his peers who increasingly veered toward the use of synthesis, Henry remained deeply dedicated to tape music until his death in 2017, often pointing to a relationship between the sound objects of music and those of spoken and written language. This was a notion echoed by many visual artists of his day, notably Jacques Villeglé, widely regarded as a pioneer of college and decollages, as well as for his alphabet of symbolic letters. Born only a year apart, while working in different mediums, Henry and Villeglé belonged to similar creative zeitgeists and mindsets. Each embraced a decidedly avant-garde philosophy, while deploying ‘found” materials to create new, democratic languages. The common ground and mutual respect shared between these visionaries of collage led to several meetings over the years, as well as a number of shared exhibitions. The first, taking place in Poitiers at at "Le Confort Moderne" during 1999, produced the only widely available document of this creative connection, Henry’s album Apparitions Concertées, paired in its release with a catalog of Villeglé's ‘sound posters’. Composed and recorded by Henry in 2008, Un Monde Lacéré is a long-form work - stretching across both full sides of the LP - paying homage to the life and work of Jacques Villeglé. Divided into 8 sections, the mastery of the composer’s craft is impossible to escape. Immersive abstractions comprised of intricate detail unfold within Henry’s controlled fury of energy. Sounds captured from a vast range sources - instrumental and non-instrumental - collide in fields of rhythm, tone, texture, and ambience, appearing at moments to be far closer to acoustic, real-time free improvisation than most recognizable forms of electronic music. If it were not for the diversity of the sounds themselves and the composer’s manipulation of the tape, the ear could be easily led to believe that it was witnessing an artifact of one of the wildest bands it had ever heard. Filled with life, astounding energy, and remarkably forward-thinking creative attack, even at the age of 81, Pierre Henry, across the length of Un Monde Lacéré proves to have been one of the most vital forces in contemporary experimental music, all the while still bearing the utopian torch lit at the outset of avant-garde electronic music and musique concrète into his final years. Once again, Transversales Disques has raised the bar for the field of archival releases. A truly astounding piece of work that can, at long last, be heard." [Soundohm]	2020	€25.00
HIORTHOY, KIM & RUNE KRISTOFFERSEN	LET'S PUT IT TO MUSIC / 20 YEARS OF RUNE GRAMMOFON	BOOK & 7inch	Includes a 7" single with exclusive tracks from Fire! Orchestra, The Last Hurrah!! and Maja S. K. Ratkje, surely among the most exuisite in the whole catalogue. Introductions by David Fricke and Adrian Shaughnessy. It´s no secret that Rune Grammofon founder Rune Kristoffersen is a big admirer of labels like Blue Note, Impuls, ECM, 4AD and Factory, to mention some labels with strong visual identities. But we can´t recall another label that has worked with one designer exclusively for 20 years and 200 releases. The exclusivity was a premise for our collaboration with Kim Hiorthøy from the very beginning, but we certainly never had any expectations about how long we would be able to keep it going. This book is far from being a catalog lining up the releases (it´s not even "complete" or chronological in that sense), but provides an interesting insight by including sketches, rejected designs and unused idéas that never left the drawing board... until now. A Rune Grammofon record is never finished until the cover is done and a sleeve is never designed for the sole purpose of selling a product (it took 28 releases before an artist was pictured on the sleeve!), or necessarily reflect the music in any way (is that even possible?), but rather to establish a suggestive relation between the two, often based on the album title or a song title, but not in an obvious way. We have also included a number of interesting and eclectic "best of" lists from the likes of Jono El Grande, Bent Sæther, Lasse Marhaug, Mats Gustafsson, SPUNK, Rune Kristoffersen and others. The book has 224 pages, comes with a tactile Geltex hardcover and is beautifully designed by Hiorthøy. www.runegrammofon.com/artists/books/rbk2200-let-s-put-it-to-music-20-years-of-rune-grammofon-boo/	2018	€46.00
HOEDH	Universum	CD	"Last studio-album and musical testament of T.H. Thiel ( ORDO CATHARSIS TEMPLI ), who died in April 2003, only few days after putting the final touches to this impressive album. Like only few ambient artists, HOEDH succeed to awake a feeling of longing and melancholy within every listener and at the same time HOEDH create a feeling of inner silence: a spiritual drowning into your soul. ( HOEDH hymnus 1996) UNIVERSUM was released as official - In Memoriam Album - in collaboration with Ordo Catharsis Templi, who s founder T.H.Thiel was." [label info] "HOEDh was thee projekt ov thee German artist Thorn Hoedh who passed away on thee night ov May 15th-16th 2003.. he was involved in thee projekts: Delysid , DLS, Helix 12, Moksha, and Ordo Catharis Templi!! thee two albums shared here are some ov thee most beauteous dark ambient releases which one could hope to encounter!! Hymnvs was released in 1993 on thee Atmosphere sublabel ov Dark Vinyl which was dedicated to generally more rhythmic ambient music.. and Universum was released post-humously on thee Dark Vinyl Records label on thee first ov April 2004.. again here are presented more releases from thee astounding 23 Temple!!" [vitaignescorpuslignum.blogspot.com]	2004	€8.00
HOGAN, ANNI	Kickabye	do-CD	"Von ihren frühen Tagen als Batcave DJane bis zu ihren Kollaborationen mit MARC ALMOND (MARC AND THE MAMBA, WILLING SINNERS, LA MAGIA) ist ANNI HOGAN eins der wahren Genies der Alternative Szene. Als Komponistin, Songwriterin, Produzentin, DJane und Promoterin half sie dabei, dem Sound der 80s eine Form zu verleihen. Ihre musikalische Karriere erstreckt sich über drei Jahrzehnte, in denen sich die großen Namen nur so am Wegesrand sammeln. Als DJane spielte sie mit SOFT CELL, THE THE, EINSTÜRZENDE NEUBAUTEN, TEST DEPT, JAPAN, NICK CAVE AND THE BAD SEEDS, ADRIAN SHERWOOD; als Pianistin und Keyboarderin hat sie live und im Studio mit SOFT CELL, SIMON FISHER TURNER, NICK CAVE, PAUL WELLER, BARRY ADAMSON, LYDIA LUNCH, ZEKE MANYIKA, SEX GANG CHILDREN, YELLO, CAGED BABY und natürlich MARC ALMOND gearbeitet. Ihr Solodebüt ,Kickabye" erscheint hier in ausgeweiteter Version erstmals als CD und wartet mit einigen Alternative Größen auf: NICK CAVE auf 'Vixo' (exklusiv!)), MARC ALMOND auf 'Burning Boats', FOETUS, BUDGIE (SIOUXSIE AND THE BANSHEES) und GINI BALL. Auf der CD trifft die eigentliche ,Kickabye" EP (produziert von Jim ,FOETUS" Thirwell) auf zehn weitere Songs aus der gleichen Zeit. Mit neuen und exklusiven Versionen von MARC ALMOND Tracks. www.myspace.com/annihogan" [label info/Cargo] "From her early days as a legendary Batcave DJ, through her work wth Marc Almond (Marc And The Mambas, Willing Sinners, La Magia), Anni Hogan is one of the true geniuses of the alternative scene. A composer, songwriter, arranger, producer, promoter and DJ, she helped to shape the sound of the 80s. In a musical career spanning three decades she has worked with many successful artists in a variety of capacities. As a DJ she performed with artists including: Soft Cell, The The, Einstürzende Neubauten, Test Dept, Japan, Nick Cave and the Bad Seeds, Adrian Sherwood. On Piano and Keyboards she has performed live and in studios all over the world with artists including: Soft Cell, Simon Fisher Turner, Nick Cave, Paul Weller, Barry Adamson, Lydia Lunch, Zeke Manyika, Sex Gang Children, Yello, Caged Baby and of course Marc Almond. Cold Spring is proud to present her debut release expanded and brought to the public for the first time on CD. "Kickabye" features some of the leading lights of the alternative scene: NICK CAVE on 'Vixo' (exclusive to this release), MARC ALMOND on 'Burning Boats', FOETUS, BUDGIE (Siouxsie And The Banshees) and GINI BALL amongst others. The first CD is the original "Kickabye" EP (produced by Jim "Foetus" Thirwell), plus 10 extra tracks from the same period. The second CD is also tracks from the same period. 'Blue Nabou' features YELLO. Production by BARRY ADAMSON on 'Hopes And Fears', 'Wasting Time', 'Senseless', 'A Place To Belong', 'Everything We Do', 'Self', 'The Story So Far' and 'Each Day'. This digitally remastered work contains new and exclusive versions of 'The Frost Comes Tomorrow' (originally released on "The Stars We Are" by Marc Almond), 'The Hustler' (originally released on "Mother Fist" by Marc Almond), 'Blood Tide' (originally released on "Violent Silence" by Marc Almond), 'Margaret' (originally released on "Untitled" by Marc And The Mambas)." [label info] www.coldspring.co.uk	2009	€16.50
HOLTKAMP, KOEN	Field Rituals	CD	" 'Field Rituals' is the first solo album to come from Koen Holtkamp, an artist probably better known as one half of ambient duo Mountains. Based in Brooklyn, Koen created the album slowly and as a love letter of sorts, taking in delicate field recordings and using them like faded photos representing his distinct memories of the people and places he chanced upon. Some may have heard the incredible ‚Make Haste’ which appeared on limited edition vinyl earlier in the year, but this was only a taste of what Koen has to offer on ’Field Rituals’. Taking cues from the classic ambience of Brian Eno and fusing it with the instrumental subtlety of Sweden’s Tape, Koen has come up with an aural book on his subject matter. Each track feels entwined in the next and feels like a part of something much bigger. Sure we’ve heard field recordings, synthesizers and guitars before but rarely have these instruments been injected with such a lightness of touch and with such a delicate open ear. Each listen reveals more, like peeling back layers of onion skin – take the album’s epic centrepiece ’Sky Flowers’ for example, which blends slow-moving synthesizers with good-natured environmental recordings and shimmering strings. The result is explosive somehow, with the grandeur more usually exploited by Arvo Part being framed with a distant electronic ambience. The slow-burning pace is probably the single most important facet and reveals an artist at ease with his musical choices, something unusual in a genre brimming with young hopefuls. A good comparison might be Stars of the Lid, but Koen’s music is more organic and more humble somewhat than the ex-Texan duo. In the end we are just proud that Koen has allowed us a look into this most personal of works." [label info] "Here be the first full length album from Mountains-man Koen Holtkamp. You may recall we got in (and sold out) his contribution to the A Room Forever series of LPs commissioning artists to match a field recording on one side with a sympathetic composition on the other. Where his offering there was a dark-hued, ominous crescendo of crackled drone sourced from acoustic guitar, Field Rituals has its head in the clouds. Holtkamp begins the album with a lovely round of brightly rendered acoustic guitar finger picking with some tricked out ring modulation effects giving each of the tones a sun-flecked glow and funhouse mirror curvature. Sustained drones from loops of melodica and harmonica mutate into an ersatz harmonium with the soaring overtones and sweeping fluctuations of tonalities gently crashing into each other. The loops every once in a while coalesce into a rhythmic underbelly, but mostly they settle as a effervescent bubbling of overlapping delay patterns and softly shimmered ambience. On top of all of this, Holtkamp dapples everything with his shimmered guitar and occasional crackles of tactile objects (he mentions water, seeds, ice, and paper) as well as field recordings of giggly children romping in a playground. The effect is somewhere between the immaculate pieces from Keith Fullerton Whitman's recordings and the bright-eyed naturalist wonder of the Jewelled Antler camp. Really gorgeous stuff from the ever impressive Type label." [Aquarius Records review] www.typerecords.com	2008	€16.00
HOLZKOPF & EMERGE	Craft	CD	"This is not a split release, but an album of two co-composed tracks by two apparently very diverse artists. Canadian artist Holzkopf is mainly known for his leftfield take on drum’n’bass and improvised vocals, while EMERGE is often labelled a “drone ambient” artist. Here, they combine their respective mastery of synths and the processing of sampled ambient sounds to create two textural, yet highly suspenseful half-hour pieces. The track titles “masonry” and “metallurgy” give the listener some clues as two the sources of the sounds used. Y-Ton-G, a long-standing presence in the German underground experimental music scene and close collaborator of Asmus Tietchens, is credited with supplying some of the source material for EMERGE’s samples, and given Y-Ton-G’s predilection for the sounds of metal, these probably gave shape to the samples featured on “metallurgy.” This is not to say that any of this music sounds at all anecdotal. The great achievement of the album is in the way it manages to combine seemingly concrete, referential sounds with abstract, brooding frequencies. The mixture of found and sythesised sounds, some of them by Holzkopf and others supplied by mutual label mate and analogue-synth noisician ORiFiCE, creates a kind of cinema for the ear which conjures emotionally compelling atmospheres while never forcing any obvious visual associations on the listener." [label info] www.attenuationcircuit.de "Also on the next CD Emerge is present, but then in collaboration with Canada's Holzkopf, who sometimes works inside the area of drum 'n bass, but also takes on as easily noise and ambient. Also on the plate here are sound samples by Y-Ton-G treated by Emerge. Two long pieces here, each around thirty minutes, and maybe the titles give away something, 'Masonry' and 'Metallurgy', which one might conclude this deals with some sort of metallic ringing and singing. There is a loose structure in order here, in which these sounds seem to be improvised and everything arrives in a playful mood/mode. I am not sure how this was made; by mail or Internet I would assume, but it sounds like they have been together and improvised these two pieces on the spot. Feeding it through a variety of boxes and laptops, with (obviously) moments that could be weeded out by more rigorous editing, but it's a free flow of sounds that has its appeal. It's perhaps the kind of thing that you would find on a cassette release, but why not a CD? Why not! Indeed!" [FdW/Vital Weekly]	2014	€10.00
HONEYMOON KILLERS (LES TUEURS DE LA LUNE DE MIEL)	Les Tueurs de la Lune de Miel	CD	"Fronted by the late Yvon Vromman, The Honeymoon Killers were a provocative band with a strong pop sensibility. This album made them the darlings of the music press all around Europe (including in the UK, a rare feat for a French-singing act), and their delirious live shows gained them a strong following. Les Tueurs also included vocalist Véronique Vincent, Gerald Fenerberg, Jeanf Jones Jacob and Aksak Maboul/Crammed originators Marc Hollander & Vincent Kenis. The album originally came out in 1982. It was first re-issued on CD in 2003, augmented with 4 previously-unreleased live tracks from 1981 (with Aksak Maboul), a track recorded for a NME tape, and the 3 tracks from the "Subtitled Remix" EP (it had been strongly suggested to the band that they could broaden their audience if they recorded English versions of their songs. The Killers chose instead to “subtitle” them, or rather to add new, English-speaking characters to the songs: The Copter-hater, who lives a parallel story to that of the heroin of “Histoire à Suivre”, Mummy and Jason who comment the actions of the quarelling couple in “J4”, and Dr Stone, Max and Colonel LaFièvre, who turn the instrumental “Ariane” into a mini-space opera entitled “A Deep Space Romance”)." [label info] www.crammed.be Les Tueurs by Gilles Verlant: "The main quality and the main problem of the Honeymoon Killers is that they saw everything in duplicate. It's a recurrent drama with Belgians in general and artists in particular: they are often seriously schizophrenic. Let's start with their name. The Honeymoon Killers, like Leonard Kastle's 1970 film about a couple of serial killers ? Or Les Tueurs de la Lune de Miel, with this amusing contrast between menacing (Tueurs) and comforting words (Miel) ? They can't decide, so they'll put both names on the cover and the public will have to sort it out for themselves. And then who's the leader, or at any rate, who gets photographed for the press ? Is it Yvon Vromman, who is unshaven and ugly with his big round nose, but makes you die laughing (actually he's the one who'll die, far too early), a real bundle of nerves, the kind of psychopath which blows up in your face as soon as something goes wrong ? Or is it the evanescent Véronique Vincent, an ex-model and journalist ? In 1982 the New Musical Express doesn't think twice: the girl will make the cover. You can imagine Yvon's face: after all, he's the one who started this band! In the end, this internal competition will undermine them and make them explode in mid-flight. But there was even more schizophreny in the Killers: they were clearly going in several musical directions at the same time. Raw energy stemming from punk and new wave on the one hand, and serious musical skills of some band members on the other. What united them is the desire to have laughs, to experiment, to subvert influences without giving a damn about what's in and what's out (and maybe that's why their songs haven't aged, which is a thing you can't say about that many albums recorded back in 1981 !). Hey guys, let's make provocative versions of songs by Sheila and France Gall (two French pop stars from the '60s) ! They were only slightly more respectful with Charles Trenet's classic "Route Nationale 7", which went on to become a radio hit in France, while the press went apeshit. In reality, the Honeymoon Killers were a band from the 21st century which had unfortunately fallen into a spatio-temporal flaw. Today, all the things they were fighting for with their little fists tightly clenched (and their little tongues firmly screwed in their cheeks) have become totally obvious: being quirky and imaginative, not taking oneself too seriously, bravely mixing electro-and-pop-and-world-and-jazz etc. The Tueurs must absolutely reform. Yvon, don't act stupid, come back, all is forgiven ! [GV writes books and television programs. He is the author of the definitive Serge Gainsbourg biography.] www.crammed.be	2003	€13.00
HUERTA, DANIELA	Soplo	10inch	"Soplo" is the debut solo album from Berlin-based Mexican multimedia artist, sound designer, and DJ, Daniela Huerta -- and a true thing of beauty it is. A hallucinatory array of vaporous atmospheres, illusory rhythms, vanishing voices, and evocative environmental recordings, "Soplo" (Spanish for 'breath') ruminates on the enduring resonance of storytelling. Huerta places an interest in mythology at the center of her practice, using it as a springboard to explore the origins of consciousness, archetypes, rituals, and collective memory. This approach to sound made Huerta an ideal collaborator for acclaimed Colombian artist and filmmaker Iván Argote, who invited her to score two of his poetic, politically charged short films. This is how "Soplo" began, with Huerta re-working and weaving together two soundtracks, creating a fully cohesive statement emphasizing her own idiosyncratic methods. Her subtle sonic treatments and arrangements sketch an impressionistic narrative that highlights the synergy between music and the natural world. As a collection of recordings with disparate origins, “Soplo” is remarkably cogent -- engagingly varied but with a sustained air of mystery (and discovery) throughout. The ethereality of tracks like 'Gloria' and 'Coatl' gives way to the refined musique concrète of 'Seqvana' and especially 'Tres'. Meanwhile, 'Fondo' and 'Levitar' offer surprising juxtapositions while 'Hálito' rolls forward with wheezing instrumental flutters before being drowned by Huerta's disarmingly opaque electronic textures. "Soplo" is a tremendously satisfying sojourn; an album that rewards patient, deep listening and emphasizes Huerta's tight grasp of audial imagery. It is an emotionally expressive sonic tapestry that unfolds at its own pace, revealing itself hypnotically and enigmatically. With this immersive debut, Huerta entreats the perceptive listener to take a deep breath and plunge in. There is treasure to be found in the river's depths. - - - - Already well-established as a DJ, working under the Baby Vulture moniker, Daniela Huerta has performed at a wide variety of venues and festivals, including Berghain, Silent Green, Roter Salon, and Berlin's prestigious CTM, and has collaborated with artists such as Ale Hop, Lucrecia Dalt, Concepción Huerta, and Ash Fure. She currently lives in Berlin. Black vinyl 10" in full-color jacket with extensive spot gloss printing and gorgeous artwork/photography by Cornelia Pierce. Mastered for vinyl by Stephan Mathieu and cut by Andreas Lubich (Loop-o). https://danielahuerta.bandcamp.com/album/soplo	2024	€18.00
HUNT, JERRY	Haramand Plane: Three Translation Links	CD	"Pogus is very honored to be able to reissue this recording of works by the late Jerry Hunt (1943-1993), originally released on ¿What Next? Having long been fascinated by Hunt’s work, it is great to be able to have these last works of his available on CD once again. To quote “Blue” Gene Tyranny: “In the 1970s electronic music practitioners constituted a rare and marginal population on the frontiers of interactive media and performance. Audio, with its modest bandwidth requirements, led video by at least a decade in every major discovery. Early artists were able to experiment, construct, interconnect and perform with electronic systems that were consciously digital, real-time and interactive long before those buzzwords were mentioned in other artistic contexts. Among the pioneers, Jerry Hunt was the rarest, most marginal explorer of a remote terrain. As his musical activities moved from the electronic sound pieces of the 1970s into the legendary performances of the 1980s, Hunt brought along with him a curiously rich and viable ecosystem of pieces, structuring principles, performing gestures, and theatrical personae.” “The sounds on this recording, created in 1993, are completely different from the ones that constitute normal or academic electronic music. The three sections of this electronic work constitute the composer's last pieces. He regarded the recorded version of this work as a "document for rehearing." The overall sound is the densest and most intricate in this one of a kind artist's body of work. The three sections consist of "interlocking audio and video optical discs which provide the fundamental image, sound and program control strings ... action code pattern structures ... for a group of transactional mimetic gesture exercises ... inflection calls evoking ... melody streams" with simultaneous tracks of acoustic percussion. The sonic result is an entrancing, overwhelming, evocative shamanic performance of brilliantly designed electronic timbres.” [label info] www.pogus.com "The Pogus label has a fine nose for forgotten and underestimated recordings from the past in the field of electronic music. This results in well-documented releases, like this one: ‘Haramand Plane’ by Jerry Hunt, originally released by ?What Next?(1994). Electronic music attracted pioneers of all kinds, often loners who built their own universes with more or less success. Jerry Hunt was one of them, an eccentric composer from Texas who ended his life in 1993, aged 50. He studied piano and composition at the University of North Texas and became an accomplished pianist, playing compositions of American and European composers. He gained some fame with his live electronic events combined with ritualistic performances. In order to make his work available he founded his own Irida label. The titles on this Pogus release were the last works he realized before he died. Titles of the three works on this release are: ‘Chimanzzi: Link (1)’, ‘Chimanzzi: Link (2)’ and ‘Chimanzzi: Drape: Link’. It is electronic music of a very own kind. Fine textures with lots of details and layered sounds. It makes the impression of very organic sound constructions, that are far from dry, academic experiments. I admit, I associate abstract electronic music more with the intellect than with other human capacities. But listening to these works I became more and more impressed by the lively and organic feel that is in this music. This music flows like water in a river or blood through our veins. Very evocative and sensitive music, sounding quasi-nonchalant. Resulting in something that is more than just music. Must have been a visionary artist!" [DM/Vital Weekly]	2013	€15.00
ICHIYANAGI, TOSHI	Drip Music	BOOK + CD	This is volume 9 in Omega Point\'s Obscure Tape Music of Japan series. Yoji Kuri is one of the foremost and highly-regarded experimental animation artists in Japan, active since the early 60s. His name is well-known not only for his many works of \"black humor\" throughout the 60s and 70s, but also for the soundtracks to his materials, composed by avant-garde composers. Originally titled Synthesized Piano Space, it has been renamed Drip Music for this release. This new edition is combined with Toshi Ichiyanagis unpublished tape work from 1974 (lost at Kuri\'s studio for the past 30 years) with 53 pieces of Kuri\'s newly-inked, fantastic manga work inspired by the sound. Contains newly-written liner notes in Japanese and English, housed in a specially-designed cardboard paper sleeve in a limited edition of 1,000 copies. omega-point.shop-pro.jp/?pid=172740545	2008	€24.50
IF, BWANA / SUSTAINED DEVELOPMENT / ELEKTROJUDAS / EMERGE	Crossgrained	do-CDR	"ACC 1009: 2 x CD-R in DVD-case The three solo tracks performed by If, Bwana on this live recording are based on sounds played on the bassoon, flute, and guitar and make a wonderful introduction to his work with layered, pitch-shifted acoustic instruments. This stuff is among the best you can get in contemporary drone music – rich in texture, sensuous, emotional, and still abstract enough to “clear the mind.” On another two tracks, If, Bwana is joined by his local support group at this July 2012 gig in Germany for an unlikely but happy marriage of his layered sound textures, 50 Hz hum, and lots of electroacoustic sound gadgetry. Supporting If, Bwana at his concert in Augsburg, Germany on 4 July 2012, local artists Sustained Development, elektrojudas, and EMERGE teamed up for a free improvised set using sampled bass guitars, miked-up wave drums and induction coils, monotrons, and smartphone apps, also documented on this 2 CD set. Another two tracks resulted from the trio joining If, Bwana for a demonstration of the possibilities of experimental music, which are endless provided they are approached in an open-minded way. In this case, two very distinct idioms – calm, contemplative drones and fidgety, highly interactive glitch/noise improvisation – fuse perfectly thanks to the alertness of the players." [label info] www.attenuationcircuit.de	2013	€12.00
IF, BWANA WITH/AND/BY TRIO SCORDATURA	E (and sometimes why)	do-CD	"If, Bwana is always Al Margolis. Trio Scordatura is Elisabeth Smalt, viola d'amore; Alfrun Schmid, voice; Bob Gilmore, keyboard/laptop. The new 2 cd magnum opus by If, Bwana (Al Margolis) has been almost 3 years in the making. It is the first time he has composed works (usually with prerecorded sounds) specifically for another ensemble. Gilmore's Girls, Ringing (Ano)the(r) Bell, and Diapason, maybe were specifically written for Trio Scordatura. Cicada 4AA was the first piece of If, Bwana's they played (though not written for them in particular). E (and sometimes why) and All for Alf(run) were both composed after the initial recordings and used materials from those sessions. The Tempest, Fuggit, used some of Trio Scordatura's sounds and combined them with an absolutely awesome, over-the-top performance/reading of a section of Shakespeare's The Tempest by Michael Peters (of Poemrocket). We hope that answers the burning question 'Why If, Bwana with/and/by Trio Scordatura' ? There may not be a better way to describe their involvement with this recording ? they played with If, Bwana and they played If, Bwana and they were played with and by If, Bwana. Trio Scordatura is an Amsterdam-based ensemble that specializes in vocal and instrumental music involving microtonal tunings and spanning a broad range of musical styles. The basic sound-world of female voice, viola and keyboard is expanded by other sonorities depending on musical context. Their concerts feature classics from the worlds of microtonal and spectral music, together with new commissions from a wide range of contemporary composers and sound artists. trio scordatura grew initially from a project to perform the works for intoning voice, Adapted Viola and Chromelodeon by the American composer Harry Partch. This music, composed in the early 1930s, involves voice and two instruments - a viola and a harmonium - that were adapted by Partch in order to play music in his elaborate microtonal scale with more than forty unequal divisions of the octave. Besides performing the early works of Partch, trio scordatura has formed close working relationships with a number of leading contemporary composers, among them Phill Niblock, the late Horatiu Radulescu, Alvin Lucier, François-Bernard Mâche and Lasse Thoresen. The trio has performed at the Sonorities Festival, Belfast, UK Microfest 2 in Surrey, the KlankKleur Festival in Amsterdam, Musica Sacra Maastricht, Roulette in New York, the Logos Foundation in Ghent, the Transit Festival in Leuven, and gives regular performances at the Karnatic Lab series in Amsterdam." [label info] www.pogus.com	2012	€20.00
ILITCH	White Light	LP	After multiple projects and collaborations with, among others, Valentina Fanigliulo (Mushy, Phantom Love), Nicholas Littlemore (Empire Of The Sun, Pnau), Aaron Moore, Quentin Rollet, Jac Berrocal ... Thierry Müller restart the "concept" of ILITCH for this opus - new ilitch album since 2010 (excluding reissues). Ilitch albums, too rare for some, cults for others, are from the beginning generated by important moments in the life of Thierry Müller. Inspired by them, reflecting them, sublimating them, treating them as therapy or bearing an incisive, sometimes impudent and / or disillusioned look, Thierry gives each opus a resonance, a sound, a singular treatment. In the bloodline of "10 Suicides", "Lena's Life" ... He gives us a very personal concept album: "Several health-related accidents have led me to reflect on the passing of time, resulting in flashbacks, disturbing feelings about memory and neurological disorders, the questions it causes, and a strange feeling that I tried to "translate" into the track White Light that gave the title to the album ... ". With the contributions of Jac Berrocal, Aaron Moore, Quentin Rollet and Milena Drither-Lerru, this introspective album takes us to unknown lands that can only question and seduce us. THIERRY MÜLLER: guitar, bass, synths, piano, keys, Mellotron, drums programing, voice JAC BERROCAL: trumpet MILENA DRITHER-LERRU: cello, voice  AARON MOORE: vocals, percussions, panpipes, harp  QUENTIN ROLLET: saxophone  https://bisourecords.bandcamp.com/album/white-light https://www.bisou-records.com/artists/thierry-muller/	2021	€25.00
ILLUSION OF SAFETY	Fin de Siecle	CD	"Long overdue re-issue of this long out of print LP on Korm Plastics (kp 5495), and perhaps its fits the format of CD even better. Illusion Of Safety is Dan Burke, here with Kurt Greisch. Since 1983 Illusion Of Safety has been the ongoing project of Daniel Burke, working alone and with various collaborators. They have released over 20 CDs on labels such as Complacency, Die Stadt, Experimedia, Odd Size, Silent, Soleilmoon, Staalplaat, Tesco, and Waystyx, and played over three hundred concerts in Europe and North America. IOS' work has been called ambient, post-industrial, electro-acoustic, noise, sound collage, improvisation, and power electronics, but they are unwilling to limit their work to any given style or method. The sonic character and affective substance of the music will often shift abruptly within each recording and live performance. 'Fin de Siecle' was part of the 'ambient series' of Korm Plastics and has some highly subtle music to offer, based on field recordings and quiet electronics. Part One and Part Three, the original sides of the LP, were recorded for a tour in 1995 and edited to release on vinyl. The CD version has an extended 'prologue' and 'epilogue' as bonus tracks, making the total CD 66 minutes long." [label info] www.kormplastics.nl "Behind the legendary project Illusion Of Safety, you find the two sound artists, Daniel Burke and Kurt Griesch. The two main pieces of present album "Fin de siecle", was created for an American tour back in 1995. Due to the time-limit of the vinyl-media which was the original release format, the pieces were cut and revised to fit the time-span of the vinyl. Now sixteen years later, the two pieces have returned from the historical archives to be presented on this re-issue on Dutch label Korm Plastics. The twosome has for this particular occasion composed two smaller pieces - an epilogue and prologue for the original album. After the abrasive "Epilogue"-piece, we move into first piece of the original "Fin de siecle"-release, simply titled "Part one". A 22-minutes running piece of ambient tranquility built on repetitive sound-drones until the closing moment where the piece culminates in a harsh grande finale. Second piece of the original vinyl is a lengthy work combining field recordings and trippy sound drones - a subtle piece of an almost inaudible character. Stepping to the last piece of the album, the "Prologue"-track is another recent created work for this re-issue. As was the case with the epilogue, this is a piece of a more upfront nature with long-stretched monotonous tone that because of its repetitive nature create a nice hypnotic atmosphere stretched over the 22 minutes run-time." [NM/Vital Weekly]	2011	€10.00
	Surrender	CD-R	"I've been releasing things outside of the internet (no part of it), and one of them has been "Surrender", the newest outing by Illusion of Safety. Daniel Burke has made a "remix overview" of this work, and I had to let the cat out of the bag. More information can be found at the video link, including the mail box where money orders/hidden cash is to be sent. Do check it out! The video is exceptional! I've been told some of the processes in making it, and it's nothing short of deftly inspired! $7 postage paid in the US. $12 elsewhere. Available in pro cassette and pro CDR format. I haphazardly spurred Illusion of Safety back into live action in 2008 when I asked him to do a show with me at the Empty Bottle. From there, we were both asked to perform for WTII's monthly showcase at Darkroom, wherein this clown video material first surfaced, so it's a pleasure for me to release the nexus of a soundtrack to this imagery, coming full circle. "Illusion of Safety, just passing its 30th year since inception, is often regarded as the innovator of "ambient industrial". Despite having traversed nearly every arena of the experimental milieu, performed prestigious fests all over the world, and collaborated with some of widest ranging and heaviest hitting of the avante garde, core member/founder Daniel Burke has both shown a return to form and a veritable bouquet of new frontiers in his most recent outing, "Surrender". In just under 60 minutes, the listener is taken on a dizzying carousel ride where everything but the kitchen sink is employed to weave a deeply personal (abstract, wordless) narrative that comes off as minimalistic, condensed, and bombastic. But at the same time, it is a constantly shifting, complex and ornate grid iron amalgam of genuine enthusiasm and horror. Recommended if you like a complete disregard for the myopic trappings and short sighted formulae of contemporary sound art today." [label info] nopartofit.blogspot.de "Somewhere, an old T-shirt from Illusion Of Safety exists (the last we saw was affixed to Sigtryggur from Stillupsteypa some 10 years ago) with a deadpan/ironic catch-phrase "Illusion Of Safety gives you that soaring feeling" next to an image of a man tumbling headfirst out of a skyscraper window. Such a calculated juxtaposition of word and image was emblematic of the '80s art world (e.g. Barbara Kruger), often speaking to the underbelly of callousness, cruelty, violence and general amorality within consumerist society. Outside of this bold piece of iconography, Illusion Of Safety has operated within a more liminal state of mysteriousness through signifier and meaning. Even in their most placid albums of soft-focus ambience, the specter of some unknowable threat lurks in the background. More common in the Illusion Of Safety catalogue is an iron-fisted grasp of that sense of foreboding and dread through psychologically tense sound design. Over three decades in existence, this Chicago based project has been whittled down to its core member Dan Burke - with a few comrades-in-arms joining him occasionally - and is probably the longest running American industrial project, having produced a very impressive body of work. The 2014 album Surrender fits comfortably next to some of the masterpieces of the IOS back catalogue (e.g. Cancer, In Session, Historical, etc.) through the trademarked juxtaposition of noxious frequencies snaking in and out of harmonic phase patterns only to snap out of existence with a razor-cut edit into an electrical burst of tesla coil noise (for example). Disjointed rhythms, mediated collages, decontextualized field recordings, and psychoacoustic phrases map this album with incredible control and precision. Illusion Of Safety proves once again that they are one of the greats of industrial culture. Grab this album before it disappears, the pro-duplicated cd-r is limited to just 100 copies. Same for the cassette." [Aquarius Records] "Among the few artists I have been following what seems now to be a lifetime (Asmus Tietchens, Main, Organum), Illusion Of Safety is probably among them the band I saw play live most. Dan Burke, the main man, is a most loveable chap and he always surprises me with his next move. His music doesn't operate in any particular style, but overlaps various genres. Improvised, industrial, ambient, musique concrete, and even a bit of techno beat thrown in. Here's a new album that proofs it. It's called 'Surrender' (which word always reminds me of the Cheap Trick song) and on a label called No Part Of It, meaning they don't want to be part of the world of Internet. There is a website, but there catalogue is hand scribbled on a sheet of paper and the CDRs - professionally designed - can be bought with a money order. Yes! That's what I like. Swim against the tide. Music wise Illusion Of Safety does something we haven't seen him do in quite some time. The collage styled music in which lengthy chunks of sounds are suddenly cut away by voices from radio and TV, a techno beats slips into view and sounds remarkable like the early 90s works such as 'Historical', 'Inside Agitator' or 'Distraction'. Quiet at times, but also quite bombastic at other times, filmic but without too many words. And if we hear any, it's about nuclear waste leakage. In that sense this album also harks back to the post-industrial sound of yesteryear. The balance between the very quiet and the very loud, between the ambience and the beats, is maintained very well throughout this release. Daddy's all right: surrender!" [FdW/Vital Weekly]	2013	€9.00
IN MEDITARIUM [IN MEDITARIVM]	Les Fleurs du Mal	CD-R	Last copies of this impressing CDR on polish label SOULWORM. IN MEDITARIUM is the project of Gorgoroth (who runs Ukrainian Dark Syndicate) and Kostolomo. This is visionary, ghostly dark ambience, creating a daemonic & unsettling atmosphere. “Another fine incarnation of the almighty Ukrainian artists of the First Human Ferro fame. In Meditarium has that easily recognisable sound, but makes a few steps deeper into dark atmospere of decadent joys of an alienated human being. Some ritualistic influnces are to be heard (say Archon Satani in the 'Virgin Birth' period), the rudimetary melodies fulfill the whole setting. The lyrics deal with consensual aspects of love and completion on the one hand, pain and and serenity on the other. James Joyce's lines (taken form 'Giacomo Joyce') constitute the final comment and an invocative epitafium to this masterpiece...“ [label info]	2002	€10.00
INADE & TROUM	To Pan Eon	10inch	"Inspired by the ancient Greek concept of TO PAN EON — “the All, the Eternal” — German drone transcendentalists Inade and Troum unite for an immersive four-track 10” EP that explores the infinite cycles of mind and matter. Having admired and followed each other’s work for decades, the two projects now converge in a focused and intense collaboration, shaping sonic landscapes that blur the boundaries between inner and outer worlds. With this release, their shared aesthetic vision crystallizes into a singular, cohesive experience. The EP combines their deeply developed sonic signatures: vast and shadow-laden cosmic atmospheres, ritualistic and tribal pulses, hypnotic guitar drones, and shimmering harmonic overtones that seem to breathe and expand in slow motion. Each track unfolds as a meditative spiral — circling, dissolving, re-emerging. TO PAN EON is not merely a recording; it is a sonic rite. It reflects the circular processes found in dreams, in sacred rituals, and in the subconscious realizations that connect psyche and cosmos. Sound becomes both vessel and vortex — drawing the listener inward while simultaneously opening outward into the eternal whole. This collaboration stands as a testament to resonance — between artists, between frequencies, between the finite and the infinite." [press release] TO PAN EON Side A: 1. MNEMOSYNON PELAGOS 2. SELF-REALIZATION OF MATTER Side B: 1. ECHOES OF IMAGINED RITUALS 2. ONTIC DRIFT Everything recorded and processed by Inade and Troum through the years 2017 - 2025, at Light Channel and Temple Visurgis. Dreams are the language of the soul, guiding us through unseen realms. Through dreams, rituals, and acts of consciousness, this collaboration finds its source - dedicated to the eternal cycles that weave through human experience and the cosmos alike. 4 track collaboration EP, lim. 500 on dark shining three-coloured vinyl (black - red - clear) , artwork Tilmann Benninghaus https://troum.bandcamp.com/album/to-pan-eon-inade-troum	2026	€18.00
INCAPACITANTS	Repo	LP	The roots of noise can be traced back to the experimental works of composers like Luigi Russolo, who in the early 20th century introduced the concept of noise machines or "Intonarumori" and advocated for the inclusion of industrial and mechanical sounds in music. This laid the foundation for the exploration of unconventional and non-musical sounds as viable artistic expressions. In the 1980s, noise music gained significant recognition and prominence with the emergence of artists and projects like Merzbow, Whitehouse, and, of course, Incapacitants. These artists employed a wide range of techniques and sound sources, including electronics, feedback, tape manipulation, and found objects, to create intense and immersive sonic experiences. Incapacitants has made an indelible mark on the noise genre with their relentless pursuit of sonic experimentation. Through their innovative use of electronics, amplification, and feedback, they have created a distinct and recognizable sonic signature. Their performances and recordings often encompass a vast range of frequencies and textures, immersing the listener in a dense and immersive sonic landscape. Repo, the enthralling album by the Japanese experimental project Incapacitants, is a sonic masterpiece that pushes the boundaries of noise music to exhilarating heights. Originally released on vinyl in just 300 copies by Japan's legendary Alchemy Records label in 1989, this record showcases the immense creativity and technical prowess of the man behind Incapacitants, Toshiji Mikawa, here still alone (Repo is the last album as a one-man project, as Fumio Kosakai, about two years later after this release, became a permanent member to make Incapacitants a duo). With its relentless cacophony and innovative soundscapes, Repo is a testament to the enduring power of noise as an art form. From the very first seconds, Repo grabs your attention with an onslaught of piercing high frequencies and distorted textures. Mikawa's ability to manipulate sound is immediately apparent as they create a disorienting and immersive atmosphere. The side A evolves, incorporating layers of chaotic noise, visceral feedback, and unexpected sonic surprises, leaving the listener captivated and intrigued. The other side explore the concept of rhythm within noise music, defying conventions and embracing experimentation. The pulsating beats and distorted tones create a captivating sense of momentum, while unexpected disruptions and bursts of dissonance add an element of unpredictability. The juxtaposition of rhythmic elements and abrasive noise creates a dynamic listening experience that keeps the audience on the edge of their seats. Repo is an extraordinary album that drives the limits of noise music, showcasing Toshiji Mikawa mastery of sound manipulation and their unwavering dedication to experimentation. He demonstrates an incredible ability to create immersive and captivating sonic landscapes that challenge the listener's perception of what music can be. With its relentless energy and daring sonic exploration, Repo is a testament to the enduring power of noise as an art form, and a must-listen for anyone seeking an audacious and boundary-pushing musical experience. “In a historical perspective Repo is also special. There were very few noise records that sounded like it in 1989. Albums by other Japanese artists like Hanatarash, Merzbow, Gerogerigegege and Hijokaidan, who despite the more sonic approach of noise to their western contemporaries, all featured more stylistic aspects to their work – tape loops, collage techniques, the use/abuse of conventional instruments, satirical takes on popular music, references to visual art forms. Repo has none of that, it is full-on noise. In this sense this album – and Incapacitants’ overall oeuvre – has stood the test of time incredibly well. It does not feel dated.” - from Lasse Marhaug new liner notes. All sounds by Toshiji Mikawa Remastered by Lasse Marhaug in 2023 «Repo» was originally released as LP on Alchemy Records in 1989 Special thanks to Nobuya Maehashi who kindly permitted to use his magnificent chart for the front jacket Notes from 2001 by JOJO Hiroshige (with an addendum by T.Mikawa) New comprehensive notes from 2023 made for this reissue by Lasse Marhaug https://urashima.bandcamp.com/album/repo	2023	€26.00
INFANT CYCLE	The Sand Rays	CD	"Diophantine Discs is pleased to announce the release of a new CD... The Infant Cycle - The Sand Rays. We're happy to introduce the new full-length record from The Infant Cycle. The Sand Rays is to be played from the outside to the center, from whichever edge you choose. The Sand Rays is pinball rhythm reverberations from sliced vinyl record playout grooves, gravelly surface vibrations. The Sand Rays is exploiting broken cords, near-empty batteries, half-broken equipment. We loved it and think you will too. Just be prepared to be a bit more confused when it is all over, but don't worry: you'll be too busy wiping that silly grin off your face because you had such a fun time. The Infant Cycle, active since 1992, is the brainchild of Jim DeJong. He has released material on such labels as Drone, EE Tapes, Hands, Moloko+, Afe, Zhelezobeton, Blade, Abgurd, and his own The Ceiling. Additionally he is a former member of Mind Skelp-cher and (as The Infant Cycle) has collaborated with numerous artists including Aidan Baker, Orphx, and Dronaement. Housed in a custom printed color wallet. Edition of 500 copies." [label info] http://discs.diophantine.net "This label has released both on CD and vinyl. Perhaps its therefore a bit of an odd choice to release the new Infant Cycle on CD. Not because of the nature of the music, but due to the material which was used to create this music: like before Jim DeJong, the man behind The Infant Cycle, uses vinyl to create his music. Ah. You think vinyl and you think Yoshihide, Marclay or Spooky? Wrong. The Infant Cycle has nothing to do with turntablism like that. More along the lines of Vertonen, The Infant Cycle uses run out grooves which are taped and then fed through a line of analogue sound effects or perhaps synthesizers and then further treated, enhanced and altered on the computer. Actually I made that last bit up, as I think there are no computers used by The Infant Cycle. Its more likely that everything exists in the world of analogue sounds, with cheap low resolution sampling keyboards, four track recording machines and more analogue sound effects. The music is raw and densely layered with lots of icing on the cake, but this is not a work of endless spinning noise loops. Jim DeJong knows how to create music that is both noise based and yet still something to hear. Although throughout quite present, he is not shy to take matters into a more quieter area, and presents us a highly listenable release of music that is, for me at least, the logical step in what some call industrial music. Powerful, intense, rich of ideas and excellently executed." [FdW / Vital Weekly]	2009	€12.00
INFANT CYCLE / JARED DAVISON	Periodical I	mCD-R	Schöne kanadische EP mit zwei Stücken, INFANT CYCLE mit einem quasi-rhythmischen, elektronisch-sirrenden & sich windenden Soundknäuel, der uns unbekannte JARED DAVISON kreiert einen dunkel-loopig-mechanischen Soundscape aus „Oberflächenklängen“ von Vinylschallplatten, eine Art düsterer PHILIP JECK? Super ! “The most recent project embarked upon by The Ceiling is a series of split mini-CDRs (originally intended as a series of a 7"s, which remains in the artwork), between The Infant Cycle and other artists in the southern Ontario region of Canada, working mainly in the arena of CDRs, MP3s, and less in larger-circulation formats. The series intends to bring together artists working outside existing genres and subgenres, working in areas of their own. The intent is to unify the series with a sense of adventure and challenge, and not necessarily a stylistic consistency. The series is also intended to function somewhat as a sort of newspaper, a snapshot of where each project is at the time of issue. The series can be viewed as sidebar releases by the artists- perhaps a progress report. THE INFANT CYCLE has been in operation since 1992, producing numerous CDRs, CDs, vinyl, cassette and MP3 releases, alongside many compilation appearances for labels all over the planet. The Infant Cycle creates eccentric sound-worlds from disparate strands of instrumental phrases, field recordings, and everything in between; composition mixing with improvisation, influenced by happy accidents and technical failures. The piece contained is a mixing of previously recorded tracks, rethinking the past and foreshadowing future releases. JARED DAVISON has followed an uncompromising path from his time as founder and mainstay of the many incarnations of Mind Skelp-cher, through various short-term projects, to his current work under his own name. While quiet for the past few year, he is re-emerging with material focused narrowly on particular sounds isolated from their sources, and projected into unpredictable shapes and atmospheres. "Phonography" is an uneasy and sometimes violent soundscape based entirely on the crackle and hum hiding amidst the grooves of your favourite vintage vinyl.All releases in the Periodical series are "budget" priced releases of 80 copies only.” [label info]	2005	€6.00
INNER VISION LABORATORY	Relics	CD	'Inner Vision Laboratory' releases new studio album 'Relics' on Winter-Light label. The inspiration for this album came from different science-fiction and post-apocalyptic books and movies, but also from the artists’ personal thoughts regarding mankind’s condition. ‘Relics’ is a musical illustration for the very distant future, where humanity has failed in its progress and moved to total annihilation. Relics are the only things humanity has left behind. Other higher advanced civilisations will come to visit our now desolate planet to collect these relics; these fading tokens of the past. They come to visit the Museum of Savages, who destroyed their own habitat and rendered their once beautiful planet uninhabitable. 'Inner Vision Laboratory' is a musical project brought into existence by the Polish artist/musician Karol Skrzypiec. Created in March 2005, stylistically the project qualifies as industrial dark ambient. Nevertheless, it also includes elements of ethnic music, classical music, et al. 'Inner Vision Laboratory' has released a series of albums on labels such as Rage In Eden, Zoharum, and Beast Of Prey, collaborating with other artists such as Hoarfrost, Roto Visage and Nepenthe. His other works include the highly acclaimed 'Anywhere Out Of This World', 'Perpetua' and 'Austeros'.	2018	€12.00
INNERISE	Western Sky Music	CD-R	"Tarl Broad-Ashman has been using the name Innerise for his music since 1998. The music ranges from beatless ambient to vocal-led electronica, with two vocalists, Annie Rolph and Katherine Cobley, appearing on Innerise recordings to date. Having previously remixed fellow Make Mine Music artists Portal, Schengen and Yellow6, Innerise released their debut album “Western Sky Music” on Make Mine Music in 2007." [label info] www.makeminemusic.co.uk	2007	€8.00
IONE / PAULINE OLIVEROS	Io and her and the trouble with him. A Dance-Opera in Primeval Time	DVD	"Written and directed by Ione Music and sound design by Pauline Oliveros A collaborative venture among artists of all types, this “dance-opera” is a multimedia panorama of experimental theatre and technical virtuosity that includes aerial ballet, masks, video projection, a sinister thousand-eyed monster, and a highly imaginative electronic soundscape. The one-act story, set in primeval time, retells the myth of Io from a matriarchal perspective. Io, Argivian priestess, is transformed by a terrible spell and roams the world, lovely but tormented. While enduring entrapment by Argus, the terrible monster, she is befriended by the brilliant Bird who helps her discover the key to her escape. Only upon her arrival in Khemt (Ancient Egypt) does she begin to understand the true mystery of what her journey has been about and its meaning for the future of the world." [label info] www.deeplistening.org	2009	€16.00
IRISARRI, RAFAEL ANTON	Peripeteia	CD	Over the years, American composer Rafael Anton Irisarri has become ubiquitous within the spheres of ambient, drone and electronic music. Whether it's through Irisarri's celestial long-form albums or his lauded audio engineering credentials for countless artists and labels, Irisarri's consistent dedication to his craft never wavers from the forefront. While Irisarri's compositions typically field an array of modern ambient overtones threaded through oceanic symphonies with tape loops, bowed electric guitar and vast washes of overdriven sound, his recent debut album for Dais Records, "Peripeteia, portrays these common themes giving way to metal and classical influences that emphasizes Irisarri's melancholic tendencies. These unique overtures, coupled with his signature layering of distortion and bleached-out textures, fabricate an audible environment that would seemingly be at odds with, yet gracefully complement each other. In Irisarri's own words, "My previous works internalize any exterior forces or circumstances, while trying to make sense of the world. Peripeteia reverses that approach, focusing on the personal in order to tell a wider human story." The emotional depth found throughout Peripeteia is impeccably on display with the track, Mellified. A collaboration with Spanish composer Yamila, the choral arrangements bring to mind the sacred music of Arvo Pärt, while her voice combines the Andalusian "Cante jondo" style with medieval modes, almost drowning in layers of octave fuzz distortion and dystopian synths patterns. On Arduous Clarity, the bright arpeggiating melody that churns throughout, offers the initial glimmer of optimism in an otherwise decaying tale of personal turmoil. This encouraging glimpse is short lived however, as the song Refuge/Refuse seemingly plummets into the mourning depths of somber despair. A chorus of voices steadily crawls from its desolate terrain - a sea of broken spirits, eternally resigned to strain and bellow their final lament. Fright and Control, a piece which is equally soul churning, seems to possess a satisfying resolve, as if after years of searching, one's very salvation has been laid to rest through the acceptance of mortality and the enlightenment in death. Irisarri's complexity is utilized to a forcible success, slowly pulsing throughout the foreground of his audience, further emphasizing the impending dread of resolve." https://irisarri.bandcamp.com/album/peripeteia	2020	€15.00
	Peripeteia (clear)	LP	Over the years, American composer Rafael Anton Irisarri has become ubiquitous within the spheres of ambient, drone and electronic music. Whether it's through Irisarri's celestial long-form albums or his lauded audio engineering credentials for countless artists and labels, Irisarri's consistent dedication to his craft never wavers from the forefront. While Irisarri's compositions typically field an array of modern ambient overtones threaded through oceanic symphonies with tape loops, bowed electric guitar and vast washes of overdriven sound, his recent debut album for Dais Records, "Peripeteia, portrays these common themes giving way to metal and classical influences that emphasizes Irisarri's melancholic tendencies. These unique overtures, coupled with his signature layering of distortion and bleached-out textures, fabricate an audible environment that would seemingly be at odds with, yet gracefully complement each other. In Irisarri's own words, "My previous works internalize any exterior forces or circumstances, while trying to make sense of the world. Peripeteia reverses that approach, focusing on the personal in order to tell a wider human story." The emotional depth found throughout Peripeteia is impeccably on display with the track, Mellified. A collaboration with Spanish composer Yamila, the choral arrangements bring to mind the sacred music of Arvo Pärt, while her voice combines the Andalusian "Cante jondo" style with medieval modes, almost drowning in layers of octave fuzz distortion and dystopian synths patterns. On Arduous Clarity, the bright arpeggiating melody that churns throughout, offers the initial glimmer of optimism in an otherwise decaying tale of personal turmoil. This encouraging glimpse is short lived however, as the song Refuge/Refuse seemingly plummets into the mourning depths of somber despair. A chorus of voices steadily crawls from its desolate terrain - a sea of broken spirits, eternally resigned to strain and bellow their final lament. Fright and Control, a piece which is equally soul churning, seems to possess a satisfying resolve, as if after years of searching, one's very salvation has been laid to rest through the acceptance of mortality and the enlightenment in death. Irisarri's complexity is utilized to a forcible success, slowly pulsing throughout the foreground of his audience, further emphasizing the impending dread of resolve." https://irisarri.bandcamp.com/album/peripeteia	2020	€24.00
	A Fragile Geography	LP	Ostinato as resistance: Rafael Anton Irisarri’s landmark work reimagined. Marking the tenth anniversary of the American composer’s critically acclaimed album 'A Fragile Geography', this new edition arrives renewed, both sonically and visually. First released in 2015 (Room40) during a period of personal upheaval and creative reinvention, it endures as a testament to resilience, transformation, and the connection we hold with the places that shape us. Written in the aftermath of a devastating theft, A Fragile Geography was born out of loss. Just days before a cross-country move to New York, Irisarri’s entire Seattle-based studio was wiped out. Instruments. Recordings. Archives. Gone without a trace. He arrived on the East Coast to an empty room and the daunting task of starting over. “This album wasn’t just a record; it was a lifeline,” Irisarri reflects. “It became a way to process the emotional chaos that followed: uprooting, instability, and ultimately, the slow, intuitive rebuilding of a life.” Composed and recorded in the rural woods of the Hudson Valley, the album took shape in seclusion, surrounded by nature, and through a process guided by improvisation. Embracing limitations, Irisarri wove textural layers of field recordings with half-remembered melodies from his Seattle years, piecing them together like fragments of memory. Tracks like “Displacement,” “Hiatus,” and “Persistence” juxtaposed haunting stillness with restless momentum, mapping an inner terrain of grief, catharsis, and rebirth. Among its defining sounds is “Empire Systems,” a monumental centerpiece built around a simple four-chord progression, organ textures, and guitar drones. Gradually, the track expands into layers of immersive loops and thick, enveloping distortion that wash over the listener like a rolling wave. Often cited as the album’s most majestic passage, it captures Irisarri at his most sonically ambitious. With a harmonically saturated structure crafted from restraint and repetition, it remains one of his most recognizable compositions: an exercise in the art of maximal minimalism. From the outset, “Reprisal” received praise from BBC’s Mary Anne Hobbs, who championed the track on her radio show. Her support played a key role in introducing Irisarri’s work to wider audiences and solidifying his place within the lineage of electronic, drone, and experimental sound artists. A slow-burning elegy, the piece emerges from a haze of distortion and sub-bass, with dense, unrelenting drones carrying a sense of mounting tension. Just as it seems to collapse under its own weight, flickers of guitar emerge like distant light through fog. It’s a meditation on dissonance, resolve, and the elusive possibility of release. The closing track, “Secretly Wishing for Rain,” is steeped in saudade: a longing for Seattle’s dour grey skies, lush green landscapes, and desaturated sunsets. Through it, Irisarri mourns a vanished chapter of life bound to the city, a time documented in scattered mementos and cherished collections, now permanently gone. A reflection on what could never be recovered: an era lost to time. Julia Kent’s looped cello motifs added a melancholic warmth to the track, marking the first collaboration between the two artists and sparking a musical dialogue that would keep growing in the years that followed. More than a career highlight, A Fragile Geography has laid the foundation for Black Knoll studio, which Irisarri rebuilt from the ground up. The studio has since grown into a creative hub for countless projects, with Irisarri engineering records for iconic music figures like Terry Riley, Ryuichi Sakamoto, William Basinski, MONO, Devendra Banhart, Grouper, Emeralds, Steve Hauschildt, Julianna Barwick, and many others. Carried by its lasting influence, the album has quietly captured the ear of a younger generation, its sound and emotional arc finding new listeners in unexpected corners. The album’s new visual language was reimagined in collaboration with Mexico City–based designer Daniel Castrejón. Irisarri captured ghostly images at Gaztelugatxeko Doniene, a historic coastal site in Bermeo, Euskal Herria. Castrejón then treated the photographs with distressed textures and spectral overlays. The final artwork channels the rugged, elemental forces that shaped both the music and Irisarri’s aesthetic, renewing his ties to ancestral ground inspired by the Basque homeland of his bloodline. Mastered by Stephan Mathieu with exceptional attention to detail, this anniversary edition uncovers every nuance in the sound design, enhancing clarity and presence. With each listen, new elements emerge, inviting discovery and reconnection. “I don’t experience this album as a document of grief anymore,” says Irisarri. “I hear adaptation and I'm reminded that when everything falls apart, something meaningful, maybe even beautiful, can emerge.” irisarri.bandcamp.com/album/a-fragile-geography-10th-anniversary-remastered	2025	€28.50
JACASZEK	Kwiaty	LP	"It all started with a book, as these things often do: an English anthology of metaphysical poetry from the 17th century, to be exact. Which may not sound like the sexiest option on the shelves, but hear us out. The gentleman plowing through those weathered pages happened to be Michał Jacaszek, the Polish composer who's spun dramatic shades of darkness and light into gold for more than a decade now. An absolute master of melancholy, from the trickle-down electronics of Treny to the vapor-trailed verses of its looming spiritual cousin KWIATY. "The poems were simple, pure and beautiful," Jacaszek says of the book's poignant Robert Herrick passages. "They spoke about death, pain, longing and loneliness, but somehow these pieces were bringing hope, solace, and peace." They also sounded a hell of a lot like songs when read out loud. Structurally at least. Herrick's rhyme schemes and rhythms still needed the right musical accompaniment, and Jacaszek had just the ticket: a backlog of previously unreleased recordings—warm-blooded samples, lonesome synth lines, pared-down guitar parts—begging for proper arrangements and dynamic mixdowns. Not to mention the most vocal-driven material Jacaszek's ever written, melding his stormy melodies with a breakout performance by Hania Malarowska and the robust supporting roles of Joasia Sobowiec-Jamioł and Natalia Grzebała. "I tend to always create organic, acoustic sounds, even though I work within a digital environment," explains Jacaszek. "Because KWIATY is actually a vocal album, the electronic sounds in the background seemed to be a perfect opposition. It's all unintentional, really; this is just my music language and I can't run away from it." jacaszek.bandcamp.com/album/kwiaty "I first discovered the wonderful and adventurous music of Jacaszek in a record store. 'Glimmer' and 'Catalogue des Arbres (feat. Kwartludium)' have been regularly played albums for years in this household. So when this new album was announced, I was immediately interested. However, like often happens with artists this talented and versatile, starting to write this review was a difficult task. So let's just begin by writing that this is an breathtaking piece of work. For those not familiar with Michał Jacaszek: he is a Polish composer who combines electronically prepared sounds with acoustic instruments. Over the years, he composed soundtracks and theatre music, plus a number of albums. His work blend classical music with experimental electronics and jazz. He knows little to no musical borders and continuously drags in seemingly strange influences. 'Kwiaty' means flowers and in a way that is exactly what you get on this album; blooming pieces of music that look and feel familiar yet mysterious. The album was inspired by Michał Jacaszek’s discovery of an English anthology of metaphysical poetry from the 17th century by Robert Herrick, which to him — somehow-- sounded songlike when read out-loud. The album contains guest appearances by Hania Malarowska (Hanimal), Joasia Sobowiec-Jamioł and Natalia Grzebała. The songs on this album are strange pop-ballads or jazz inspired classical pieces or electronically rearranged folk songs, regarding on how you feel about them. I hear influences from all these genres, including trip hop, dark jazz and the soundtracks to Tim Burton's movies or even Twin Peaks. There is a gloomy atmosphere, a mysterious feel but also musical ingenuity and beautiful vocals. In short, this is Jacaszek at his very best. Once again I refuse to pick a favorite track. I'm not even going to mention separate songs. I'm just going to recommend buying the album. Take the weekend off and enjoy 'Kwiaty' non-stop. Allow Jacaszek to guide you on an introvert but epic journey, one you will not regret. It will definitely be worth the effort. If you are into anything between Dead Can Dance, Bersarin Quartet and The Nightmare Before Christmas, you will easily get addicted to this thing..." [Merchants of Air]	2017	€20.00
	Gardenia	LP	"Gardenia is an existing land located at the Limpopo province of South Africa, right at the border with Botswana. The place's real name is Mmabolela and it's a private nature reserve covering 6500ha of subtropical savanna and part of Limpopo River. In November 2019, I had a chance to visit the location and participate in an annual residency for composers and sound artists called 'Sonic Mmabolela', initiated and curated by Francisco López. We lived in an isolated property in the middle of savanna having a unique opportunity to exist in undisturbed touch with the African wilderness. All the natural sounds later used to create Gardenia were captured there -- during longtime recording sessions over the virgin interior of Mmabolela Reserve. The album's field recording content was selected from several hours of birdsong, calls of frogs, insect noises, sounds of trees, bushes, grass as well as non-living natural elements like stones or shells. These field recordings were later digitally processed and used as part of nine musical arrangements. However, the recording sources and the location of Gardenia is defined, it was not my intention to document a South African natural soundscape nor create any other kind of strict concept album. All I do in my work is an affirmation of beauty hidden in various aspects of the Creation." --Michał Jacaszek Recorded, composed, and produced by Michał Jacaszek. Photography + design: Jon Wozencroft. DVD case; includes download. https://jacaszekreleases.bandcamp.com/album/gardenia	2020	€25.50
JACASZEK & KWARTLUDIUM	Catalogue des Arbres	CD	"CD - 8 tracks - 46:06 Track listing and notes: 1. Sigh (Les peupliers) 2. Green hour 3. A book of lake (Roselière) 4. Garden (Les sureaux) 5. From a seashell 6. Circling (Le pré) 7. Anthem (La forêt) 8. Kingdom (Les chênes, les bouleaux) For the past decade or so, Polish musician Michal Jacaszek has been exploring a new, resolutely modern chapter in Eastern Europe’s long, storied love affair with classical music. His creations are painstakingly crafted collages of electronic textures and baroque instrumentation, harpsichords being swarmed by woolly static one minute and pulled apart by billowing wind the next. A push-and-pull tension runs deep and constant throughout. Ambient music is rarely so sonically challenging. Jacaszek has recorded for Ghostly International, Miasmah, Gusstaff Records and Experimedia and other labels. This is his first release for Touch. Michał Jacaszek writes: "When poets and writers declare their enchantment for the forms of nature, they often use musical terms as methaphors. Visual artists' creations often resemble graphic partitas, when recapturing the rhythms of landscapes.Confirming, in a way, these musical intuitions, composers write great music deeply inspired by birdsongs, wind rustlings, waves repetitions etc. Making "Cataloguge des Arbres”, my ambition was to join this broad artistic movement devoted to natural phenomena and find my own way to describe trees: their forms, atmosphere and mystery. I have started with "open air" recordings, capturing mainly leaves'' rustlings - from different distances, in different locations and weather conditions. This collection of nature recordings was transformed into a kind of "organic drone" and becomes a main background for instrumental and voice improvisations. My initial inspiration here was Olivier Messiaen's' bird songs transcriptions for piano – the composer's work title "Catalogue d'Oiseaux" I have paraphrased on my album . A piano, clarinets, violin and percussion parts, performed by the Kwartludium ensemble, were electronically processed, and afterwards all this electro-acoustic material was turned into a collection of 8 soundscapes - forgotten songs performed secretly by my beloved trees." composed, recorded and produced by Michał Jacaszek \| additional composing and all instrumental parts performed by Kwartludium \| Voice parts (tracks 1, 8) performed by 441 Hz chamber choir \| Additional clarinet parts (tracks 2, 3) performed by Andrzej Wojciechowski Grand piano recorded by Cezary Joczyn at Gdańsk Academy of Music Kwartludium are Dagna Sadkowska: violin \| Michał Górczyński: clarinet, bass clarinet \| Paweł Nowicki: percussion \| Piotr Nowicki: grand piano Biography: Michał Jacaszek lives in Gdansk, Poland. Author and producer of electroacoustic music, composer of soundtracks and theatre music, and sound artist. He is a curator of C3 Festival /Club Contemporary Classical/. Member of Polish Society for Electro-acoustic Music. Michał Jacaszek lives in Gdansk, Poland. Jacaszek gained Grand Prix at "Dwa Teatry" Festival for music composed for the play "Golgota Wrocławska" directed by Jan Komasa. "Walking underwater" a documentary by E. Kubarska with music by Jacaszek has recently been awarded The Special Jury Prize at Hot Docs Film Festival in Toronto. He has performed in USA (Unsound New York, Communikey, Hopscotch), in Canada (Mutek ), in Great Britain (Fertilizer Festival, Apha Ville Festival), in Nederlands (Urbanexplorer Festival), in Belgium (Fereejen Festival), Portugal, Sweden (Volt Festival), Slovakia, Germany, Ukraine and Russia (Electro-Mechanica Festival); as well as in Poland at the most important festivals: Heineken Opener Festival, Off Festival, Unsound Festival, Astigmatic. www.jacaszek.com www.kwartludium.com www.touchmusic.org.uk "From the outside it may seem that Touch always works with the same artists and to some extent that's probably true. What's wrong with that? They act as a proper record label, not working on a project-to-project basis, but push a limited of artists. But sometimes an entirely new name pops up, such as Michal Jacaszek from Poland, who is a composer of soundtracks and theatre music, as well as a curator for various festivals. His previous work was released by Ghostly International Miasmah, Gustaff Records and Experimedia, although I must say I didn't hear any of that. Here he works with a quartet called Kwartludium: Dagna Sadkowska on violin, Michal Gorczynski on clarinet and bass clarinet, Pawel Nowicki on percussion and Piotr Nowicki on grand piano. Much like composers have tried to describe animals through instruments (Messiaen, Saint-Saens), Jacaszek wanted to describe trees, 'their forms, atmosphere and mystery'. He started with the recording of leaves rustling and wrote the notes out for the quartet and then, in the final stage, treated everything in a way that is owed to the world of electro-acoustic music. The 441 Hz Chmaber Choir performed some voice parts. Great story, fine music, which carefully balances on the modern classical on one side and electro-acoustic music on the other side. Jacaszek really makes his sounds - whatever source - to have a rustling character, such as in 'Garden (Les Sureaux)' - which rustles all around - the field recordings, the percussion instruments, but also the other instruments making similar gestures. Most of the time this is played introspectively, but not dark, doomy. It's airy music, open, like a mild summer breeze (and with today's sunny weather I can exactly know how that feels), meandering through space, without getting weightless or new age inspired. Jacaszek knows how to create music that is partly gritty, a bit dirty, just off the beaten track. I'm never too fond of anything that is even remotely modern classical, but I must say: this is great!" [FdW/Vital Weekly]	2014	€14.50
JARL	Akatisi / Somnolens Part I-VI	CD	"Advanced Experimental Drone"-Musik von ERIK JARL (eine Hälfte von IRM), das grossartige TANTRIC-Album (aufgenommen bereits 2003); schwelende Geräuschfelder, wummernde Klangflächen, elektro-magnetische Mikrodetail-statik, zwischen Ent- und Anspannung, voller interessanter Sounds & kontemplativer Kraft ! "Solo material from soundartist Erik Jarl known by his works with power electronics monster IRM. Sustained static fields and repetitive patterns construct expressive layers of sound in contrasting colours. Delicately and ambitiously put together to a transcendental cycle - this is music for occidental meditation. Limited to 499 copies." [label info] "....Over the 6 tracks and 45+ minutes Erik has taken the concept of drone music and revitalised and buffed this sometimes staid and boring music into a shimmering gossamer sheen. Drifting pastoral passages are continually looped into hypnotic rippling waves of sound that appear almost ethereal in structure. Slight faint jarring effects are carefully layered into the mix along with flecks of faint Industrial and ritualistic bias that reaches out towards black malevolent ambience before being drawn back clutching despondently at the air. "Akatisi / Somnolens" is music to meditate to. To dream sweet dreams to. To fully immerse yourself and lose all track of time to. Time becomes totally irrelevant, a non event, when listening to music that bathes and cloaks the senses in full spectrum of a rainbow. Erik and his amazing Technicolor drone overcoat. Around this part of a review I suppose I’ve got to try and mention like minded recording artists in case the words I’ve written haven’t conveyed the musical style adequately enough. Fair enough…though it will be a difficult task…so having had a quick trawl through my record collection I offer up the following: MRSA-16, Troum and Elektro Nova. Elements of each can be found ever so partially on "Akatisi / Somnolens" but Erik has retained a unique individuality and foresight which has been stamped firmly across this recording. If his earlier works were his evolution then "Akatisi / Somnolens" marks his re-birth as a genuine musical maestro. Artist and label in a marriage made just for each other." [Aural Pressure] www.the-edge.ws/pretentious/tantric-harmonies	2005	€13.00
JASCH	Shimmer	CD	Knistern, vibratorisch wummernde & hell zerfliessende Streicher-Drones, in der Tat „schimmernd“ wie Licht; sehr schön wie sich hier Flächen überlagern, vermengen & gegenseitig auslöschen zu scheinen, ab und zu kommen „konkretere“ Streicher-Klänge an die Oberfläche... 8 Stücke sehr gelungene experimental drones von diesem uns bisher unbekannten Schweizer. “SHIMMER from the swiss artist JASCH (catalogue number 6) marks a new step in the development of dOc as it is the first release without any involvement of label owner Pure (besides dOc8 "Die Instabilität der Symmetrie" which was a cooperation with Cologne based label Grob). It therefore stands for the label's conceptual shift from a platform for documenting solo and collaborative live works to a release possibility for like minded sound and video artists. SHIMMER features a mixture of organic and synthetic characters that build crystalline shimmering layered sonic spaces. A constant flow of steadily evolving palettes of rich sound drifts from standstill to hectic, from recognisable instrumental timbre to digital fragments, constantly changing spatial perspectives and acoustic appearance. the most notable sound source for these eight tracks are recordings of string instruments, even though echoes of voices and traces of field recordings evoke an intimate exchange with the sonic materials used for this work. All eight tracks were recorded during a 4 month time span in spring and summer of 2003. Most of the pieces are direct-to-disk live-recordings, a few were recorded in the studio. all pieces were improvised using custom made soft- and hardware and no edits were applied in postproduction. the main tools use process-based algorithms and open dynamic systems geared towards intuitive and instantaneous interaction. JASCH is an active musician coming from the fields of improvisation with a background in jazz and electroacoustic music. He holds a degree in jazz doublebass and a masters in digital arts. He has been performing improvised, electroacoustic and audio/visual electronic works in a variety of settings in festivals and clubs all over europe and north america. Beside his solo works he is member of DYAD, the critically acclaimed live project with american video artist Johnny Dekam, whose collaboration DVD with dOc label owner Pure is released just a the same time.” [label description]	2004	€13.00
JECK, PHILIP	rpm	do-CD	https://philipjeck.bandcamp.com/album/rpm With rpm, we wanted to join some of the dots of Philip's life and involve many other collaborators, early and more recent. Fennesz was a friend and kindred spirit on the same label. Claire M Singer formed a new chemistry and partnership and although their plans must now take a different form, Mary found some sketches Philip had laid out using Claire's organ recordings, for further development. Faith Coloccia & Philip had already released Stardust on Touch in 2021. Their live performance together at 2220arts + archives, Los Angeles in March 2022 celebrating Touch's 40th anniversary had to be shelved. And in September of that year Iklectik hosted a memorable tribute night with live work from Chris Watson, Liverpool Improvisation Collective, Claire M Singer and others – most of all a dedicated audience who knew and felt that this was a future event and not the end of the story. A work in progress at the time of Philip's death, Oxmardyke, a project with Chris Watson, saw the light of day as Touch Tone 83 in early 2023 – working on recordings Chris had sent, Philip with laptop perched on hospital bed, almost to the end. There were other artists who wanted to actively contribute further, whether in performance or contributing to this album: Jana Winderen had already sent Philip her recordings of pilot whales and the track you hear was finished in March 2022. Cris Cheek was in Slant with Philip and Sianed Jones, who also sadly left us that same year – their work together predates Philip's with Touch. Philip owed much in his early years of composing and playing to his collaboration with dancers, theatre and film makers – in particular, a 10 year working and performing partnership with Laurie Booth, Yip Yip Mix and the 20th Century, which toured widely during the 1980s and early 90s. An early audio visual work, Vinyl Requiem (1993) was created with visual artist Lol Sargent, using 180 record players, nine slide projectors and two 16mm projectors producing a live performance on a huge scale. Vinyl Requiem wasn't exactly about the end of vinyl, but the dawn of some- thing else regarding sound recording and music. It was never a final statement but a testament to the work to come. credits released November 15, 2024 Compiled & edited by Mary Prestidge, Mike Harding & Jon Wozencroft Photography & design by Jon Wozencroft Mastered by Denis Blackham Bonus track: Philip Jeck & Liverpool Improvisation Collective – Makeshift	2024	€22.50
JENSEN, CLARICE	The Experience of Repetition as Death	CD	Brooklyn-based cellist Clarice Jensen’s gorgeous sophomore album and first for FatCat’s pioneering 130701 imprint, ‘The experience of repetition as death’, was recorded and mixed by Francesco Donadello at Vox-Ton studios in Berlin in late 2018 and mastered by Rafael Anton Irisarri. Following up her hugely impressive 2018 debut, ‘For This From That Will Be Filled’ , which included collaborations with Jóhann Jóhannsson and Michael Harrison, all of the material on this new album was written and performed by Clarice alone and all of the sounds on it were created with a cello through a variety of effects and effects pedals. An outstanding musician, Clarice has recorded and performed for a host of stellar artists including Jóhann Jóhannsson, Max Richter, Björk, Arcade Fire, Nick Cave, Jónsi, Stars of the Lid, Dustin O’Halloran, Joanna Newsom, Nico Muhly, Dirty Projectors, Frightened Rabbit and Beirut. As the artistic director of ACME (the American Contemporary Music Ensemble), she’s helped bring to life some of the most revered works of modern classical music, and as a solo artist has developed a distinctive compositional approach - improvising and layering her instrument through loops and a chain of electronic effects to open out a series of rich, drone-based sound fields. Forging a very elegant and precise vision, her music has been described by Self-Titled as “incredibly powerful neo-classical pieces that seem to come straight from another astral plane” and by Boomkat as “languorously void-touching ideas, scaling and sustaining a sublime tension”. Her debut album was released in 2018 on Miasmah and followed in September 2019 by the ‘Drone Studies’ cassette EP on Geographic North. Receiving glowing critical acclaim, both releases made it into Pitchfork's end of year charts. Expanding her sound again, ‘The experience of repetition as death’ is a warm, deep and cyclical album that explores notions of repetition in both its conceptual underpinning and musical structure. Unlike the easily readable step builds and grid-locked looping of so many artists using the looper as a compositional tool, Clarice’s loops slide across one another in organically morphing structures; align and intersect at different moments, yielding a kind of aleatoric yet minimal counterpoint, with joins overlaid in ways that appear seamless and sophisticated. Where her live performance relies heavily upon the use of loop pedals, in the studio she and Donadello recorded much of the material onto tape to create a series of physical loops. There’s something oceanic in the immensity of the resulting work - in the ebb and flow of her sound and the way it builds and dissipates through swelling and wave reflection. Whilst in previous releases Jensen’s cello has largely been abstracted via effects to sound somewhat other than itself, ‘The experience of Repetition…’ opens with an undisguised passage that is clearly wood and string - a clarity retained throughout much of the album. Across its span, Clarice balances her material between darkness and light and the shades in between. Rigorously structured yet fluidly slipping between states, the album shifts from a glowering sense of dread / malevolence to warm, euphoric washes; from an elegaic or graceful sense of suspension to curious, clipped interstitial loops that recall the segues in My Bloody Valentine’s ‘Loveless’ or the minimalist pulsing and phase-shifting of Steve Reich. Throughout, the album reveals a viscerality and attention to textural accretion that’s reminiscent of more electronic artists like Actress or Gas; whilst the glacially moving, hypnotic build recalls prime Stars Of The Lid. Other reference points might look back to Minimalism, to the deep listening immersion of Pauline Oliveros, Eliane Radigue, La Monte Young and Marian Zazeela, and the long-string drone work of Ellen Fullman. Or forwards to the rising current wave of drone-spinners like Kali Malone, Ellen Arkbro, Caterina Barbieri and Sarah Davachi, and adventurous cellist peers like Hildur Gudnadottir or Resina. Conceptually, the album is based upon the theme of repetition and informed by some of Freud’s key principles of psychoanalysis (namely the “compulsion to repeat” self-destructive beaviours or re-live traumatic events explored in his writings about the Death Drive in ‘Beyond the Pleasure Principle’); by notions of the primarily repetitive nature of our existence and attempts to break beyond this: “I hope this album, in its repetition, might provide the listener with a respite from - or a reflection upon - the malaise and / or comfort of life’s repetition,” she writes. The album’s title is taken from a line in a 1971 poem by the influential American radical feminist poet Adrienne Rich called ‘A Valediction Forbidding Mourning’ – a response to a John Donne poem of the same title from 1611. Jensen expresses great admiration for Rich both as a writer and feminist icon, citing her as “an inspiration to create work in a field that is still largely male-dominated," and noting how “her poem to me is a reflection on the idea that dying and death are ordinary. Any meaningfulness we create comes from within and is deeply personal but entirely our own construct.” With death as a clear subtext, Jensen describes how the music was written or conceptualized in a period towards the end of her mother’s fight with leukemia and shortly after she passed away. “My sister and I were taking care of her. So I’m also referencing the repetitiveness of all the mundane things we still did with her in the face of her terminal illness - preparing meals, doing the shopping, paying bills - as well as the repetition of all of visits to the doctor and hospital." Third track ‘Metastable’ was inspired by the chorus of repetitive beeping heard in hospitals - a sound that can be both fascinating and beautiful as well as overwhelming or irritating. The beeps here integrate themselves into a single loop, creating a fixed counterpoint around a deep, foreboding bass loop and slowly building, Reich-ian structure. “This idea of the ‘metastable’ became very pronounced to me”, notes Clarice. “Her continually evolving treatments kept her in temporary states of stability that would eventually become unstable, which would then require some different treatment." Perhaps the most dramatic of the five pieces here, ‘Holy Mother’ is a towering piece that moves through all twelve chromatic pitches. The title refers to the Tibetan name for Mount Everest (Qomolangma) and through this piece Clarice has attempted to evoke a sense of that place and the obsession with its conquest - an extreme example of the feats people attempt in an effort to break from the monotonous repetition of everyday life - as well as contemplating the bodies of those climbers who didn’t make it, left frozen and permanently entombed there. Musically, in addition to the looping on every track, the concept of repetition is also expressed on a larger scale, with the album’s central melodic theme repeated in different ways across its length. On opening track ‘Daily’ the theme appears in the track’s second half, fragmented into three different tape loops and never expressed fully in order; in ‘Day tonight’, it’s played in full but in an unfamiliar key and rhythmically augmented; whilst mirroring track one, closing track ‘Final’ employs the same tape loops as the opener, but this time with the tape having been subjected to methods of degradation in order to erode the sound – crumpled up, creased and stepped on, and run (silently) for long periods of time to deteriorate the quality of the tape and the sounds recorded on it. As the piece draws to an end, the album’s theme is finally presented in full in its original key and fully harmonized, performed by a quartet of cellos without effects and emerging whole at the end of the process in a beautiful resolution. Structurally smart, texturally rich and deeply immersive, ‘The experience of repetition as death’ is a powerful new album by a hugely talented young artist, whose star is clearly on the ascendant. It is released on FatCat’s 130701 imprint on 3rd April on vinyl and digital formats. Clarice will be touring the US in March / April supporting A Winged Victory For The Sullen, with whom she will also be performing as cellist. https://claricejensen.bandcamp.com/album/the-experience-of-repetition-as-death	2020	€16.00
JERMAN / BARNES	Versatile Ambience	LP	Without referencing typical genre or style, the collaboration of sound artists Tim Barnes and Jeph Jerman moves a step forward with this 45 RPM LP release of texture and atmosphere, with assistance from Ken Vandermark, Jacob Duncan, Aaron Michael Bulter, Sara Saltau & Bret Berry. "The fact that two words sit next to each other does not automatically mean that they are related. The ambience given off by this LP full of coarse textures and lancing sounds isn't exactly versatile; it'd be easier to devise a list of places where it can't be played and people you know who would not sit still for it than to string together the places where its ambience would be appropriate. And just because two men with documented histories of hitting things get together and make records doesn't mean they'll turn in an album of percussion music. In fact, Tim Barnes and Jeph Jerman only occasionally resort to directly striking anything on Versatile Ambience; they're too busy engaging in all manner of other interventions that confound perception and makes you think hard about just what constitutes music. If you consult Barnes' and Jerman's discography, you can find CDRs a decade old to which the Discogs website has assigned the designation free improvisation. Whatever you call the music on Versatile Ambience, you can't call it that. It is carefully constructed from collected outdoors sounds, wind and stringed instruments played by musicians such as Ken Vandermark and electronics of uncertain provenance; there's definitely a shortwave radio in the mix, but beyond that, take a guess. It's probably more relevant to note that it's not immediately clear if the twittering high frequencies that lift away from a distant jet's quiet roar are played electronics or a field recording of bugs. Jerman has gone on record saying that he is not concerned with representing anything, he just uses sounds he likes to hear. Still, in a time when human activity is submerging islands and killing off species at a record rate, it's hard not to assign significance to music that challenges the listener to figure out where nature ends and man begins. No discussion of this album would be complete without acknowledging its particular physical qualities. The sleeve is hefty and substantial. The vinyl is heavy and spins at 45 RPM; Rashad Becker's mastering conveys the high frequencies with amazing clarity and the rougher textures with such tactility that you'll swear you can feel the sounds coming through your fingertips." [Bill Meyer, Dusted Magazine]	2016	€26.00
JESU	Pity / Piety	LP	“Frail hymns at the altar of self defeat….” when all is full when all is full when all us fall when all us fall By Justin K Broadrick 2010-2022 credits released December 13, 2022 avalanche recordings. 2022. AREC065 Published by Mute Song Ltd Original photo by Marek Studzinski "There are few artists operative at the fringes of popular music today whose sound has not been in some way or another informed or shaped by the works of Justin K Broadrick. As a founding member or sole proprietor of seminal outfits such as Godflesh, Napalm Death, Techno Animal, and Final, Broadrick has managed to help change or even define the now widespread genres of industrial and death metal, abstracted hip hop and dub, grindcore, and ambient electronics. So is also the case with his work in Jesu, who in the course of a very productive seven year existence have taken the churning pummel of his former project Godflesh, augmented it with the textural melody of 90s shoegaze rock and spawned a new sub-genre and the inevitable legions of imitators. And while imitators may abound, as the originator of this relatively newfound musical territory Jesu is still the clearly visible leader." https://jesu.bandcamp.com/album/pity-piety	2023	€26.00
JGRZINICH (JOHN GRZINICH)	Phase Inversion	CD-R	"... A bunch of acoustic objects, bells, wood, metal, stones, are being played manually and then the sound gets processed with various electronics and layered into thick swirling drone pieces. Jgrzinich never stands 'still', its always on the move. Small crackles from field recordings, majestic drones from electronics, with always something new happening. This is a Jgrzinich as we would have expected. Perhaps a bit like the release by Steve Roden reviewed elsewhere, one could say that Jgrzinich doesn't change his mode of operation very much, which might be necessary by now. But without that one could easily say this is another damn fine disc. Perhaps not as aquatic as many of the other releases on Mystery Sea." [FdW / Vital Weekly] "Currently involved in workshops, and coordinator for MoKS - Center For Arts and Social Practice, an artist-run international residency center and project space in Southeast Estonia, John Grzinich is a nomadic mixed-media explorer whose main tool of expression is sound composition declined in various forms : manipulation of acoustic, environmental sounds & found objects, phonographies, construction of original instrument devices, site-specific installations & performances, collaborative sound actions... Active since the early 1990s, he has collaborated with many artists & famous names in this sphere such as michael northam, Seth Nehil, Olivia Block... he travelled also intensively through Europe, and published CDs on a plethora of labels, namely for instance : Intransitive Recordings, Elevator Bath, Orogenetics (US), Cloud Of Statics, Cut (CH), Edition Sonoro (UK), Sirr (PT), CMR (NZ), Erewhon (BE), Prele, Tâalem (FR)... For Mystery Sea, John Grzinich has plunged deep into its own creative process to come back with "phase inversion", an haunting & soothing thorough sound litany... Sinking slowly within, oscillating slightly, in a continuous imperturbable movement at the heart of an unseen core lies a point of entry, a source of multiple diffractions... - Rubbings, vesperal sighs, microcollisions, metallic asperities, elemental debris, tiny fragments recombine in a wordless score... - "phase inversion" turns things upside down, makes Below becoming the Above, draws a precise, refined outline where each detail is like the echo of a new path... a cognitive retraction..." [label notes] www.mysterysea.net	2009	€12.00
JGRZINICH / SETH NEHIL	Confluence	CD	Zwei der besten Experimental-Droner & field recorder aus den Staaten in Zusammenarbeit, hier der zweite Teil nach STRIA (Erewohn), in dem es vor allen Dingen um Resonanzen und natürlichen Vibrationen von Klang-Objekten geht.. entstanden sind drei ruhige akustische Gemälde mit dronigem Unterbau, in denen es von konkreten, aber immer sensitiv eingesetzen, schwingenden Details nur so wimmelt.. fantastisch !! Second part of a collaboration of these two of the best American experimental-drone composers, focused on resonances and natural vibrations of sound-objects.. created were three great acoustic paintings with a droning foundation with lots of interesting concrete & waving details that are always sensitively used.. fantastic !! "In 1998, American composers John Grzinich and Seth Nehil initiated a process of recording and experimentation that would result in a pair of full-length CDs. The seed of the project originated in Austin, Texas with acoustic recordings of found objects played by large groups. By the end, it had expanded into a three-year, transcontinental exchange of intensive interaction, questioning and dialogue. These works further the artists' interest in physical materials and natural acoustics which are consequently composed into imbedded, altered and engaging structures. Taking form with the integrity of a living organism, these pieces invite the listener to find his way through the reticulated and stratified development of a subtly unfolding, organic sound-body. The first part of this project, "Stria", was published by the Erewhom label (Belgium) earlier this year. Intransitive is now proud to present part two, "Confluence". [press release] label-website: www.intransitiverecordings.com	2002	€13.00
JULIUS, ROLF	Music for the Ears	CD	"For a long time I've been thinking about how to create spaces into which one can retreat, where one can find quiet, where one can see, hear, where one is able to concentrate, where one is isolated from the world around but still is able to participate in itby means of art or Music or both' Rolf Julius, 1987. 'Futurism and Dadaism both made use of the synthesis of audio and visual arts to create a singular experience greater than the sum of its parts. This idea was further advanced by the Fluxus and Minimalism movements. Born in 1939 in Wilhelmshaven, Germany, Rolf Julius was profoundly influenced and inspired by these movements while he studied art in Bremen and Berlin. YEars later, after immersing himself in Musical works by artists like Morton Feldman, John Cage, and La Monte Young, Julius began to shift his focus from visual art to the synthesis of sound and visual art and nature, exploring the relationships between sounds and objects and environments. Julius soon discovered how sounds can influence vision, creating simple tones to be presented in conjunction with his early photographic work. Such experiments culminated in the creation of his pioneering work 'Dike Line' (1979), which combined visual images with texture-inducing tones. This piece was presented at the ground breaking exhibition 'Fur Augen Und Ohren' in 1980. Mythical in scope, this was the first major European exhibition attempted to map international research by artists exploring relations between sound and visual art, bringing together work by John Cage, Luigi Russolo, Nam June Paik, Joe Jones, Bill Fontana, Milan Knizak, Harry Bertoia, David Tudor and Rolf Julius. Over the next 30 yEars Julius went on to create some of the most meaningful and moving works in the grey area between Music and art, between sound and silence. Alongside Takehisa Kosugi, Terry Fox, and Akio Suzuki, he has emerged as one of the most important and influential sound artists of our time. Since the early 1980's Julius has referred to his compositions as Small Music, receiving international acclaim from those in the fields of contemporary art and Music for calling the origins of sound and vision into question. Small Music not only describes Julius' approach to composition (soft and compelling sounds from simple instruments and nature), but also a way in which to view his works and ultimately the world. Art historian Bernd Schulz once wrote 'if one recalls John Cage's central theme of 'silence' then Rolf Julius is the contemporary artist who approaches him most closely'. Julius' Small Music has the distinct ability to heighten our perception such that 'silence' becomes a positive quality of a place and a situation, and not just an absence of sound. Whether using photographs, ink drawings, audio compositions, or subtle and sometimes almost hidden outdoor installations, Rolf Julius' works serve as catalyst, increasing our awareness of the great beauty of the world that surrounds us. Western Vinyl is proud to release 'Music for the Ears' the first in a series of Small Music releases by Rolf Julius. With a goal of creating solitary sound environments, the Small Music series will culminate into a boxed edition of seminal works by this master sound artist. 'Music for the Ears' is comprised of two long tracks of gently weaving tones exploring the possibilities of spatial experience. The cover image depicts Julius' sound installation in a bamboo forest in Kyoto, Japan where his Music is placed high in the air, by speakers hanging freely from the branches of the trees. As the Music suspends itself in the air, the tones sway in the wind floating ever so gently, caressing the Ears, the trees, the light, and clouds." [label info] www.westernvinyl.com "Now here's someone who is perhaps world famous in the world of sound art, yet hardly ever appears in Vital Weekly. Its, among other reasons, because he didn't release that music, but also because his music is usually heard in museums and galleries and not always on record. But the good news is that Western Vinyl will re-release eight of his old works, starting with 'Music For The Ears', which comes with the subtitle 'small music no. 1' and small music it is. 'Song From The Past', the first of the two pieces on this album sounds like one long tape loop of bamboo flute being played. Every now and then it stops and then it starts again. Music that is very undemanding - an environmental piece to fill your ambience. Or perhaps music to meditate by - if only I ever did that. The second piece 'Music On Two High Poles' is different. It might be played on a small, children's organ or a harmonium, cut into two loops of a varying length. Its a bit louder, or perhaps it just appears so: I turned up the volume quite a bit for the first piece, so this one comes in louder. I think both pieces are designed to do the same thing: create a sonic environment. What I especially liked about it, and that's something you can only hear when the volume is quite a bit, is all the extra sounds that come along: the static hiss from the used analogue tapes that creates a nice additional sonic layer to the music. And which doesn't seem to make the music static but very much alive and vibrant. Excellent music. This is the earliest Rolf Julius recording, from 1979 and the start of a great career. Can't wait for the other seven releases." [FdW / Vital Weekly]	2010	€14.00
JUNIOR VARSITY KM	InvalidObject Series (export)	mCD	Das irische FÄLLT-Label hat auf einen Schlag ein Kompendium zur neuen digitalen laptop / click / glitch / IDM – Musik herausgebracht ! Das sind 24 mCDs mit allerlei bekannten und unbekannte Vertretern dieses jungen Genres. Wir haben die meisten da, hier eine Übersicht ! Limitiert jeweils auf schamlose 250 Stck ! Preis pro mcD : € 9.50 Better priced now, last copies of this absolute compendium of IDM. € 9.50 “ The invalidObject Series was established in 2000 as a sublabel of Fällt to release a finite series of twenty four 3"CD/.mp3 works. Offering a unique perspective on a diverse range of musical output at the turn of the millennium, the Series features work by some of the most respected artists operating within the field of '.microsound' and has been described as "a remarkable document of a vibrant artistic community and a critical moment in the evolution of digital music" (Philip Sherburne), "a showcase for the extraordinary range of practical approaches within contemporary electronic music" (Matt Ffytche, The Wire) and, simply, "impressive" (Rob Young, Editor, The Wire). “ [label press release}	2000	€9.50
JUPITTER-LARSEN, GX	Expanded Slam	10inch	" "Expanded Slam" and "Extended Slam", two new compositions by one of America's most consistently explorative and radical artists. Presented in a blazing gatefold package designed by Jupitter-Larsen, including an essay on the permawave, the polywave and the hoopla. Utterly delightful. GX Jupitter-Larsen is an media artist, based in Hollywood, California, who has been active in a number of underground art scenes since the late 1970s. He has been involved in punk rock, mail art, cassette culture, the noise music scene, and zine culture. During the 1990s he was the sound designer for the performances of Mark Pauline's Survival Research Laboratories. His best known work is as the founder of the noise act The Haters, who have performed all over the world, and appear on over 300 CD & record releases. Mastered and cut at D+M, Berlin Edition of 500, vinyl only " [label info] www.hronir.de www.jupitter-larsen.com "Hronir is a small German label, who released two things in the late nineties and five new items only this year. This 10″ is the latest release and is a noise record from G.X. Jupitter-Larsen. I have no idea why its released under his own name, and not by The Haters. Maybe it has to do with profiling as a composer? Maybe a wholly different reason. Two side long pieces here, ‘Expanded Slam’ and ‘Extended Slam’, which may or may not be extensions of eachother. Two sides of loud noise. The scraping of an object onto a surface perhaps, but then within a full distortion package. Loud, vicious noise music. Probably, if you have been paying attention, you would imagine that this is the kind of noise I don’t like, and you are probably right. But over the last twenty-five years I learned to appreciate The Haters quite a lot, and I think the sheer minimal noise of The Haters is great. It is loud and distorted, but also totally captivating. It also fits perfectly into whatever else Jupitter-Larsen does, in his performances and internet work, so unlike youngs boys fiddling with two distortion boxes in their bedroom, this is all encapsulating. Not just a record, but a statement." [FdW/Vital Weekly]	2010	€16.00
JUPITTER-LARSEN, GX & ACE FARREN FORD / LA SCRAMBLED DEBUTANTE FEAT. EMERGE	Untitled	LP	"With this release, attenuation circuit goes one step further in its project of uniting diverse practitioners of the global noise/experimental underground in collaborative projects. In this case, the result is a remarkably cohesive album of finely spun drone music that works both at high and lower volumes, rather contemplative and quite removed from the noisier sides of the featured artists. “Vertigone” by GX Jupitter-Larsen & Ace Farren Ford is composed of long tones in shifting higher frequencies, but not in the piercing CM von Hauswolff range. While relying on synthetic sounds, the microtonal richness is comparable to compositions based on acoustic instruments, as by composers such as Phill Niblock or If,Bwana. The magisterial calmness with which this strangely harmonic piece unfolds will certainly come as a surprise to those who associate GX Jupitter-Larsen’s name primarily with his noise work under the Haters moniker. “Electric Jackass” by Le Scrambled Debutante featuring EMERGE is a fitting counterpiece for its flipside. While often into hectic cut-up collages, this time the plunderphonic collective fronted by Allan Zane, based in North Carolina, have decanted the material from an improvised session to distill the most introspective, even melancholic bits, such as some wistful accordion passages. The sound material supplied to the mix by their trans-Atlantic collaborator EMERGE introduces some more rhythmic elements that sometimes evoke the ghost of a deboned, yet partly revived drum’n’bass track. File under: drone, ambient" [label info] www.attenuationcircuit.de	2015	€17.00
KA-SPEL, EDWARD (LEGENDARY PINK DOTS)	Permission to Leave the Temple	10inch	The idea of a release by the founder of The Legendary Pink Dots on Lumberton Trading Company had been mooted for a number of years. In fact, they were close to issuing a 7" around 2010, but this fell through due to the usual problems often facing small, more or less homespun, labels. The idea of still doing something with this prolific stalwart of music cut from those many folds where avant-garde abstraction locks horns with molten psychedelia, kosmische sounds, electronica and an approach to songwriting never afraid to go wherever the mood takes, however, never left. Attached to all of this, as always, are Edward's words, where wry everyday observations can mutate or be twisted into new forms given a distinctive surrealist slant. Collected on this limited 10" are five songs adding up to the length of a mini-album. Edward may well be one of the most active artists to have first emanated from the early 1980s cassette network, but Lumberton Trading Company is more than happy to play a small part in this continually unfolding, and always interesting, story. Edition of 500. https://fourthdimensionrecords.bigcartel.com/product/edward-ka-spel-permission-to-leave-the-temple-10 "When you read these words, The Legendary Pink Dots are loading their van to tour Europe, following their tour of late last year in the USA. It's been a while since we last saw this band on stage, and it's about time we see them again. During the pandemic, the group worked hard on new music and brushed up the old music for a new release, so where does singer Edward Ka-spel find the time to make his solo music? I honestly don't know but take a look at their Bandcamp (https://legendarypinkdots1.bandcamp.com/), and you'll find lots of music from his solo and with the mothership. It would be too simplistic to say that Edward Ka-spel is The Legendary Pink Dots in reduced form. Less Erik Drost's guitar and The Silverman's keyboards before or Randall Frazier's these days, Ka-spel's becomes altogether more electronic. Still, I believe that in his solo work, Ka-spel allows even more freedom to play around with sound and sounds (there is a difference there). There is more experiment, but it is also more personal. The distinctive voice of Ka-spel is the central point of attention in the five pieces on this 10", but he allows for a lot of room for an instrumental piece. Honestly, the three pieces on the first side and the two on the second flow right into each other, and there is, as far as I'm concerned, one long piece of music per side, in which Ka-spel tells his story/poetry and packs it with psychedelic coloured sounds. Joyful, over the top, reflective and personal. 'With My Blessing' opens with tinkling bell sounds, which gives the piece the charm of a music box in a baby's room, slowly morphing into something more dystopian with female vocals. Dystopian, perhaps, but Ka-spel's music is never without hope, I should add. However grim the world may be, there is always a ray of light in the music. As said, the psychedelic nature of his music is undoubtedly attributed to that. A 10"... the format of doom (too small for an LP, too big for a single)... it's too short for a full display of Ka-spel's talent to paint stories with sound and words. This is another great one, that much I know, but I also confess to being a long-term fan." [FdW / Vital Weekly]	2023	€16.00
	Tales from the Trenches	LP	Mostly known for his work as founder, vocalist and main songwriter for The Legendary Pink Dots, Edward Ka- Spel has long forged an equally prolific career as a solo artist given to sometimes exploring similar sonic realms as his group but clearly working at such a pace the need to channel ideas and songs in this capacity must be enforced. And just as well too, because Edward Ka-Spel is one of those rare and exceptional artists whose high workrate doesn’t betray a keen sense of quality control. Long known as somebody unafraid to venture wherever he pleases, his work has for a few decades now long traversed the more outward-bound or so-called ‘fringe’ areas of electronic music, psychedelia, hypnotic rock, kosmische sounds and the avant-garde. Heartily sewn into all of this is Edward’s fantastic grasp of spinning a twilight tale or spiralling deep into the mind’s recesses to craft a song from comparatively nimble melodies and words of Kafka-esque proportions. It’s a strikingly rich blend that’s always deserved far more attention than the cult audience it thankfully at least has. Tales from the Trenches is the second release by Edward for Lumberton Trading Company. Following on from the abstract-flavoured ‘Permission to Leave the Temple’ 10” released at the start of 2023, this LP collects eight tracks of a personal nature mostly pinned into place by some refined electro rhythms, molten cosmic textures, plaintive strings, introspective keys and a late night hue that sways effortlessly between the beautiful, haunted and even, a couple of times, a steam-pumped and sweat-ravaged dancefloor. Limited to 500 only, Tales from the Trenches delivers exactly as the title indicates. Everything may at first feel ominous or sombre in tone, but there’s also a glimmer of hope laid bare in all its sun-drenched glory poking between the cracks. Tracklist Side One 1. 1919 (5.20) 2. Archetype (3.51) 3. Charcoal Estates / Votes For Pinocchio / No Gateway (8.31) 4. X Marks The Spot (5.10) Side Two 1. No Show Tonight (5.18) 2. They Seek Her There (6.06) 3. Platform 5 (6.11) 4. No Show Tomorrow (4.34) Listen to 'Platform 5' here: https://www.youtube.com/watch?v=1cWece7H3ac	2024	€23.00
KAHN, JASON & RICHARD FRANCIS	same	CD	"Just how many CDs did Jason Kahn release by now? Hard to say, but quite a fair bunch. He doesn't surprise me with his music that much anymore, but that has nothing to do with the quality of the music as such. Here he teams up with Richard Francis, once known as Eso Steel and running the CMR label, and these working under his own name. The two met for the first time in Auckland where they played together and then, a year later, again in Switzerland. Kahn plays percussion and analogue synthesizer, while Francis is on computer and electronics. Four pieces (between ten and sixteen minutes each) of great lo-fi humming sounds. A very special kind of drone music that sounds both electronic and acoustic. It seems to me that these are microphone recordings, which capture the atmosphere from the space they play their music in, and which adds a nice textured quality to the music. Minimalist in approach, but very fine in execution. Like said, Kahn doesn't surprise me with his music, but he sure knows how to please me." [FdW / Vital Weekly] "The new album from two masters of electroacoustic improvisation, who are living thousands miles away from each other, but found some common aesthetic views and originality of artistic expression. This materials were recorded live during their collaborative performances in various locations, consisting of four long tracks, presenting the unique interaction between technology and intuition. BIOGRAPHICAL NOTES: Jason Kahn's work includes sound installation, performance and composition. He was born in New York in 1960, grew up in Los Angeles and relocated to Europe in 1990. He currently lives in Zürich. He has given concerts and exhibited sound installations throughout Europe, North and South America, Japan, Mexico, Korea, Israel, Turkey, Russia, Lebanon, Egypt, Hong Kong, New Zealand and Australia. Kahn performs both solo and in collaborations, using percussion, analog synthesizer or computer in different combinations. He composes for electronics, acoustic instruments and environmental recordings. For larger groups of directed improvisation he has devised a system of graphical scores. Kahn creates his sound installations for specific spaces. The focus of these primarily non-visual works lies in the perception of space through sound. Richard Francis has been releasing works on CD/vinyl, performing solo and in collaboration as a touring artist since 1996. He uses field recordings of natural and electronic sounds and a signal generator to compose layered sound works of textural and tonal detail. He has released solo and collaborative works on a number of labels worldwide and runs his own label CMR through which he currently releases limited edition lathe cut records by New Zealand artists. In performance he uses a computer and electronics and has toured Japan, Australia, Hong Kong, Canada, USA and Europe. Since 2003, Francis has composed works for sound installation, participating in group and solo shows at galleries throughout New Zealand. Jason Kahn: percussion, analogue syntesizer Richard Francis: computer, electronics First two tracks recorded live at Gus Fisher Gallery, Oakland on 22nd September 2007, third one - on 17th June 2008 at Werkstatt für Improvisierte Musik, Zürich, and the last one - at Le 102, Grenoble, on 19th June 2008." [label info] www.monochromevision.ru	2009	€13.00
KAMMERFLIMMER KOLLEKTIEF	There are Actions which we have neglected and which never cease to call us	LP	"Every song written or improvised has an inside song which lives in the shadows, in-between the sounds and silences and behind the words, pulsating, waiting to be reborn as a new song." William Parker, I Plan To Stay A Believer (liner notes) After 20 years of Kammerflimmer Kollektief, with 10 albums thus far, the time has come to take a trip. The Karlsruhe combo guide us through seven stations in an unfathomable Terra Incognita, where a listening space emerges at the intersection of improvisation and composition, a space where certitude slips out of reach, jouncing incessantly between precision and freedom, oscillating furiously between cut-up and palimpsest – and, just when we think we may have pinned it down, disappears altogether. This album entitled "There are actions which we have neglected and which never cease to call us." is one for the fearless: wordlessly conjuring up enchanted places in the richest of tones, simultaneously confronting us with magic which captivates us and the excruciating realisation that we may never be released from its spell. Mirror images come into view, images of ourselves: driven away, tormented by feelings of guilt, frozen in powerlessness – even when we believe we are still moving. There is always a mountain of things missed, calling out to us! The wetlands of the Upper Rhine Plain ("In my heart there's a place called swampland!"). Cuernavaca in the Mexican highlands. A Southern Californian stretch of Pacific coast. The Baltic Coast in Mecklenburg. A bunch of haunted places – all scenes of melancholy within us, between longing and memory, repeatedly searching for acts of liberation. This may not be the record to set us free. But it offers us a soundtrack for our melancholic state. One thing is clear when it comes to the Kammerflimmer Kollektief. Regardless of any interpretive traps snapping shut, or the conceptual penetration of apparently pre-conceptual musical factuality: here is something which cannot be voiced: avant-garde, improvisation, psychedelia, whichever labels are stuck on the Karlsruhe collective, they all feel patently unsatisfactory. Like all music, their music can neither be narrowed down to concepts nor fixed semantically. It cannot be organised as language, with a sound or image corresponding to specific points observed by sender and recipient alike, yet it is no more pre-conceptual in the sense of: first come the conditions of music, then one learns to discuss them. The Karlsruhe artists practise other-conceptuality. This is cata-language. Music from who the fuck knows where. These carefully unconsidered atheist jam supplications lead us into the darkest corners of our souls. Out of the night and into the night. The bass of Johannes Frisch creaks and hums, evolving into barely discernible undergrowth with a life of its own, yet still becoming the foundation of everything – a basso continuo, constantly leading into nothingness. Heike Aumüller's harmonium recognizes its original calling as aerophone and is elementally: wind. A wind which has so much to tell us: about the good and true sides of life, but even more about what tortures us, leaves us restless. Comforter and painful wound in one. Thomas Weber's whirring guitars and gadgets drag us into a wondrously reverberating space of special effects – protection is not all this underbrush may grant us. Amidst all the excitement which awaits us on this short, yet infinite journey, it is worth remembering: as the shaman hangs out his magic roots to dry in the morning as preparation for the ritual ecstasy of the evening, so the Kollektief follow an everyday principle in their own ritual. In short: Be not afeard! www.bureau-b.com/kammerflimmer_kollektief.php	2018	€20.00
KAPITAL	No New Age	CD	"Rafal Iwański - tone generator, analog synthesizer, sampling unit, electronic effects Kuba Ziołek - electric guitar, electronic effects, loop system Kapital is an encounter of two artists that usually penetrate different musical genres and ideas. It is an encounter of two musical worlds: psychoactive electro-acoustic music generated with electronic instruments and found objects and extreme psychedelia based on the sounds of processed guitar. Zio?ek and Iwan'ski worked together for the first time during recording sessions of improvisational group Innercity Ensemble formed in 2011. In August of 2013 they recorded in Bory Tucholskie their debut album titled "No New Age" that will be released by Bocian Records in the March of 2014." [label info] kapital0.bandcamp.com www.bocianrecords.com "Hati member Rafal Iwanski meets up with Kuba Ziolek (also known as Stana Rzeka) and they call themselves Kapital. It's one of his incarnations I didn't hear of before. They played in their homeland Poland, but also in New York, earlier this year. I understand that the material on this CD was recorded after playing three concerts, but they still play parts of this in their concerts. Iwanski plays tone generator, analog synthesizer, sampling unit and electronic effects, while Ziolek plays electric guitar, electronic effects and loop system. It's perhaps not really the kind of music you would expect on Bocian Records (known for radical improvisation, radical electronics), and I think that is mainly due to the guitar of Ziolek. While Iwanski plays his electronics in a deep, bouncing atmospheric bath of sound, Ziolek waves on top guitar lines that owe to the world of psychedelic music and perhaps less to whatever is radical in both improvisation and electronics. Having said that, this doesn't mean this is a bad album; it's just one that is a bit different from what we heard on Bocian so far. His guitar doodling reminds me of lots of seventies German guitarists, but it's whatever it is that Iwanski is doing that prevents it from becoming cosmic in any way. It's here where the album has its experimental roots and where I enjoy this more than I would do if it had leaning more towards krautrock. It seems as if Ziolek is the grandson of Manuel Gottsching, who has been surrounding himself with the crudest of current technology as opposed to the smoothest. That's what I like about this album. Old meeting new, vibrant pieces, spacious but gritty, atmospheric and disturbing. Quite likely one of the last releases on Bocian Records, as rumour has this label will cease to exist shortly." [FdW/Vital Weekly]	2014	€10.00
KASSEL JAEGER	Meith	LP	"Black Truffle present Meith, a new composition in two parts from prolific composer/theorist François Bonnet. Usually operating under his Kassel Jaeger moniker, Bonnet is a major figure in contemporary electronics and electro-acoustic music, collaborating with artists such as Lucy Railton, Jim O'Rourke, and Stephen O'Malley, and releasing his work on labels including Editions Mego, Senufo, and Shelter Press. Always meticulously detailed yet immediately affecting, Bonnet's work situates itself at a very personal intersection between the traditions of academic electronic and electroacoustic music, and a more shadowy, underground group of approaches to experimental sound: kosmische musik, the tape murk of the 1980s underground, the haunted ambience of Christoph Heemann & Co. Meith immediately welcomes you into its densely layered sound world of electronic tones, positive organ, and unidentifiable field-recorded textures. Almost static yet constantly in flux, it deliberately opens itself up to repeated and varied listening: from a distance, its many voices cohere into a monolithic plane of sound, while closer inspection reveals myriad details and momentary events. Like a drop of ink spreading through water, harmonic material present in one voice gradually fans out into the whole arrangement, creating fleeting moments of unity amid the constantly shifting waves of tone and texture. Far from the austerity of some contemporary electro-acoustic music, Meith affects the listener as overwhelming organic; its individual layers are unstable and at times near-chaotic, imbued with life. Though it can appear almost formless, the piece undergoes major shifts throughout its duration, from the austere dissonance of the opening moments to the surging harmonies that appear midway through the second side before the piece gradually dissolves into a spectral glimmer." https://kasseljaeger.bandcamp.com/album/meith	2020	€21.00
KAZIMIRA, DARJA & ZURA MAKHARADZE	Songs from an obscure Matriarchal Tribe	CD	https://unexplainedsoundsgroup.bandcamp.com/album/songs-from-an-obscure-matriarchal-tribe "Utsnobi Matriarkaluri Tomis Simgherebi" is an improvisational cycle recorded by musicians Darja Kazimira and Zura Makharadze during the filming of the experimental, analogue film "Rue de la Lune" by the Irish director Juana Robles, dedicated to the comprehension of one matriarchal generation, embraced by the tendency to painful transformation and self-absorption, striving throughout the performance to get out of these boundaries, heal and to reborn. In this act, the musicians were also characters and all the music written for the film was created precisely at the moment of the live performance documented by the director in Tbilisi, in the studio house where the authors of this cycle live and work. In particular, we performed a bodily performance that unfolded on the ruins of the Karmir monastery, which can be seen directly in the film. The performance and music in “Rue de la Lune” was captured in improvisational performances by Ambra Gatto Bergamasco, Sonia Ntova, Maximilian le Cain, Angelica Santander, Darja-Kazimira Zimina and Zura Makharadze, integrating their current or relevant art practice, localities and daily lives. The six artists represent in Rue de la Lune the Healer, the Widow, the Lover, the Jester and the Artist in a female household out of space and time going through dreamlike healing processes in desperate attempts to liberate themselves from subconscious dynamics that span multiple generations. Instruments used in recording: voices, dissected tuba, suona, zurna, bass rebeck, double bass ģiga, rebab, chuniri, gongs, bass drum, dissected tom, daf, bones, xylophone, metal and wood percussion, wood sticks, homemade noisy things and a lot of random surfaces. credits released April 20, 2023 REVIEWS This Is The Darkness The latest release from the ever awesome Unexplained Sounds Group label is the impressive Songs from an obscure matriarchal tribe by Darja Kazimira & Zura Makharadze. By mixing together creative vocalism, electroacouustic improvisation, and Eastern ethnic music influences, they have created an album that sounds genuinely unique and is jaw droppingly good. This is an album that will transport you to another time and place, as it soothes and disturbs in equal measure. Incredible.	2023	€15.00
KEMP, ALICE	9 Dreams in Erotic Mourning	LP	9 Dreams In Erotic Mourning is a deliberately confrontational work: violent, intimate and unresolved. Kemp moves between broken piano figures, psychoacoustic noise, sudden voids of silence and grotesque vocalisations, building pressure through moments of fear, grief and psychic rupture. Acts of physical aggression sit uncomfortably beside fragile melody, creating a sense of private ritual forced into public space. By design, meaning remains elusive. The record behaves like a séance gone wrong — oblique, unsettling, and charged with body-horror intensity — aligning Kemp’s approach with artists such as Rudolf Eb.Er, Puce Mary, Sewer Election and Luc Ferrari. Originally appearing as part of the On Corrosion anthology, the work also marked a milestone release for The Helen Scarsdale Agency, standing as one of the most uncompromising statements in Kemp’s catalogue. https://alicekemp.bandcamp.com/album/9-dreams-in-erotic-mourning	2026	€26.00
KG AUGENSTERN	Circles and Cycles	BOOK + CD	Kg Augenstern (Christiane Prehn and Wolfgang Meyer) have been exploring the world for many years with their “Tentacles,” extendable fiberglass canes that allow them to touch and extract the sounds of the places they are travelling through. These tentacles have become a kind of prostheses to generate subtle experiences that require attentive listening. The various aspects of the project are constantly transformed and presented as audiokinetic installations, live-streams, radio broadcasts or sound installations in contemporary art spaces. In autumn 2019, the artists explored places in Sicily that have been abandoned within the last few decades. With their tentacles, they scratched circles on the surface of these contemporary ruins to reveal the specific sounds of the various surfaces and their surroundings. A camera installed in the center of the circles recorded the images. The research was accompanied by experiments with raw sheep’s wool and clay as materials corresponding to the ephemeral appearance and transitory atmosphere of the places. The outcome of the research was presented as an exhibition in an old prayer hall in Palermo. The CD invites listeners to explore 10 abandoned places, including the location of the final exhibition. 11 Tracks (37′44″) Book & CD (500 copies) KG Augenstern’s “tentacle” performs surgeries on abandoned places. The duo from Berlin seeks out locations that lie between the states of life and death, populated and depopulated, places constantly changing, and thus in an enduring state of malleable equilibrium. They are the apocalyptic souvenirs of humans’ attempts to form landscapes. That which exists tends towards new shapes, which slowly bury mankind’s contingencies and intentions. The forgotten place and its surfaces are scratched in circles. The media to be studied are the subtle sounds caused by the scratching. At times the tentacle glides lightly along the surface, barely touching; on another pass it might bite in, leaving a mark. It stretches itself out, or blends with the material beneath it, all the while releasing its tensions in the form of deep, diffused sound vibrations. Or it springs in powerful leaps across the ground beneath it. An intense sound is called forth, rhythmic and repetitive, embedded in the temporal cycles of the described circles. Time is rendered instable, volatile, surreal, and reveals its magic. The process is repeated in the same or another location. The combinations of time and material transform themselves into a cyclical continuum. KG Augenstern creates an additional cycle out of sheep’s wool, clay, and fire. From materials found in the ruins, burned objects are created which are fragile and subordinate to their own disintegration. The observer slips outside the field of consciousness, and attention is directed towards the revelation of baselessness, not from within the realm of understanding, but in the form of realization in a material sense. Life is transformed into a question, and this uncertainty reveals the instability of existence. Ennio Pellicanò Curator Step by step, staying in this lonely place by the sea, with that empty beach, working in all these ruins without ever seeing any living person, only birds– mostly pigeons–, insects, and lizards, a kind of hypnotic, apocalyptic dimension develops. In almost every place there is an abandoned camp somebody homeless used to use a long time ago for a temporary shelter, with worn out clothes and an old mattress. Shy dogs: one, a German shepherd with two puppies vacillates between being curious and afraid, same as me. Circle by circle, rubbish, wet walls, cracked ceilings, holes to take care of and another uncertain stairway. Contemporary archeology in contemporary ruins. Disgust, fear, tension, expectations. Layers of birdshit on children‘s toys, suddenly left behind, hard material under soft organic patina…. a baby carriage, furniture, pictures on the walls and beds still made …what will wait in the next room, the next building, the next structure? SCRATCHING A LIDO Lido Las Vegas was built in the ’60s and was closed by the authorities in 2017. Before its closure, it had been run illicitly within a nature reserve, and without any authorization, state concession, or certificate of use. It is a wooden structure with small rooms for summer guests, a restaurant and a playground for children. A solid, newer but also abandoned structure with more rooms was built just beside. The scratching circles were recorded on the terraces, between the rooms and next to the playground. The surface is tiles, sand, rubbish, wood and stones. Everything is sandy. The waves of the sea can be heard in the background. SCRATCHING A MOUNTAIN VILLAGE Cunziria is a village the dates of whose founding as an urban nucleus are unknown, but it is known that in the 1920s a slow decline began, until the 1960s, when the artisan practice of tanning stopped. Some houses have been restored but left behind unfinished and are now used as stables. In one house we found raw sheep’s wool covering the ground. At a nearby sheep farm, the farmer offered us plenty of raw wool for free. The scratched circles are partly inside and partly outside of the houses. Sometimes it was hard to move the tentacle through the plants covering the buildings. One of the circles is performed inside of a cellar, with basins formerly used for tanning. The surface varies from dense, thorny bush, stones, mud and clay to tiled floor in the restored rooms. In the background it is possible to hear sheep and sheep bells, birds, and from time to time a car on the close-by small road. SCRATCHING A COMMERCIAL AREA Beside Route S115 south of Catania is an abandoned commercial area with five big buildings. They were built in the 1990s, and given up after a short period of usage. The reason was that the new Catania-Syracusa highway was built only a short distance away, and the formerly busy road along the coast was almost forgotten. Patinaed signs on the wall still show that there once was a supermarket, a car-dealership, a furnisher….. Now a semi-organic layer covers the almost-new concrete floors, and birds fly about the huge halls, while wild plants crack the surfaces. SCRATCHING A CASTLE Castello del Duca di Misterbianco is an old castle-like villa, built in 1930, not far from a river and the beach. It has many rooms, and horse stables. It was abandoned in the Second World War after it was heavily bombed and partly destroyed by english soldiers, attacking the Germans who had occupied the castle. It is covered with plants. The surface is rocky. Two of the scratched circles were done on two different flat roofs on a windy day, the other ones inside of the structure, where it was even difficult to move the tentacle because of all the stone shards and plants scattered around. SCRATCHING A FURNITURE STORE Sicilmobile is a big furniture store built in the late ’70s in Brutalist concrete style. It was abandoned around the year 2000 for economic reasons. The building with its two levels is amazing and spacious. A restaurant was connected to the commercial area. The area has been used by skateboarders for some time. The surface is tiles, concrete, small stones and pieces of glass. In the main halls, broken bricks, fallen from the ceiling, cover the floor. One of the scratched circles was done outside of the building and the rest in different parts inside. There are two roads with a constant flow of traffic close to the building. The airport is also close. SCRATCHING A BRICK FACTORY Noted art critic Vittorio Sgarbi described Fornace Penna as “a secular basilica by the sea.” Indeed, this abandoned industrial structure echoes some of the crumbling medieval cathedrals scattered around Europe. Built entirely from solid stones in the early 1900s, Fornace Penna specialized in manufacturing bricks sold them across the Mediterranean region. However, business lasted only a little over ten years. On the night of January 24th, 1924, arson turned the factory into the fascinating and deserted stone skeleton we see today. The wind blows through the arcs of the ruins, which are heavily covered with all kinds of plants. There is an almost round, accessible vaulted kiln under the center of the building. With so many plants and rocks all over the place, it was difficult to find any locations for the scratchings. The waves of the sea can be heard in the background. At one place, a lizard tried to attack the tentacle during scratching. SCRATCHING A PAPER MILL S.p.a Cartiere Larena is a paper mill that was closed more than 30 years ago. It appears that the first paper made in Europe was produced in Sicily toward the end of the tenth century, and there are still several specialized paper producers, but this mill didn‘t survive the economical crisis of the ’80s. It is a beautiful building, still containing two big huge stone bowls, with motor-driven millstones inside. The surface is variable, from stone to clay and gravel. A road is close to the building and in the background a football match can be heard. SCRATCHING A BORGO Borgo Rizzo is one of the borgos in Sicily that were built between 1939 and 1940 under the then fascist government, with the goal of transforming agricultiral production systems and colonizing fertile, unused areas by attracting farmers to new villages that provided all main services, such as schools, churches, post offices, etc. Some of the houses have been partially renovated with EU funding, but remain unfinished and unused, tending to turn into the new generation of ruins. The area is very quiet with only very few cars driving on the nearby road. A wild dog with two puppies lives on the terrace of one of the houses. All in all it has the atmosphere of a ghost town. SCRATCHING A FORWARDING COMPANY Transporti Avimec was a big Catanian freight-forwarding company which was seized and closed in 1989 on suspicion of having been owned by the mafia and used for illegal transactions. Several attempts by mafia members to buy the company back were not successful. It was possible to enter the closed property by a hole in the wall. In the private house on the property, everything seemed to have been left behind from one minute to the next. Children’s toys, furniture and beds appear recently abandoned. The halls and the courtyard are empty. The area’s surface is partly covered with rubbish or birds‘ faeces. In the distance, traffic and the neighbours‘ trucks can be heard. SCRATCHING A CHAPEL The final exhibition was presented as a site-specific audiovisual installation at the former Oratory of Santa Maria del Sabato in one of the oldest parts of Palermo. The chapel is in a state of abandonment, waiting to converted into a synagogue. In the past it was a mosque, then a synagogue, and an oratory. The first scratch was taken in the empty hall, with just one tentacle scratching a circle. The second one is, as it was during the installation, recorded at the center of the middle circle of three motor-driven circle-scratching tentacles, with raw sheep’s wool covering parts of the floor, being moved from time to time by the tentacles. The third recording is the sound of the three tentacle circles, recorded from beside them. https://www.gruenrekorder.de/?page_id=18680	2020	€18.00
KILLING JOKE	Extremities, The ALBINI Demos and Live Beginnings '88	LP	A journey into the raw and visceral origins: from the demo sessions mixed by Steve Albini to the night of the very first secret show on December 20th, 1988. In the heart of Chicago, Geordie and Martin Atkins turned frustration and distance into pure creative energy, recording the now-legendary "Black Cassette" demos at Albini"s house. Distorted, menacing bass lines, unruly oscillators, and Albini running endlessly up and down the stairs between the basement drum room and the pantry control room defined a sound that was brutally direct and uncompromising. The first interactions with the Yamaha drum machine foreshadowed elements that would later shape parts of the album. Those sessions sparked essential ideas, while the future studio - purchased from Steve and moved to Wabash Ave - would soon become the core of Invisible Records and Killing Joke"s operations. On the other side, a truly rare document: excerpts from Atkins"s very first show with the band, at Burberries in Birmingham on December 20th, 1988. In a small, mirror-lined club filled with tension, adrenaline, and inevitable collisions with the walls, Extremities, The Fanatic, Intravenous, and The Beautiful Dead were performed publicly for the first time. It was the night when everything ignited: the blast beat still in its embryonic stage, the controlled fury Geordie demanded - "can you go a bit more Moonie on it?" - and above all Jaz"s theatrical yet strikingly genuine laughter. Not just joy, but a declaration: a giant "fuck off" to the doubters and a prelude of what was about to come. A raw, essential, indispensable testimony: the birth of an era. Killing Joke are an English post-punk band formed in Notting Hill, London, in 1979 by Jaz Coleman (vocals, keyboards), Paul Ferguson (drums), Geordie Walker (guitar) and Youth (bass) Their first album, Killing Joke, was released in 1980 The band achieved mainstream success in 1985 with the album "Night Time" and particularly the single "Love Like Blood" The band's musical style emerged from the post-punk scene and has been cited as a key influence on industrial rock Killing Joke have influenced many later bands and artists, such as Metallica, Nirvana, Nine Inch Nails and Soundgarden Side A: demo sessions mixed by Steve Albini Side B: the very first secret show in Birmingham on December 20th, 1988. A truly rare document. Available as Black Vinyl and Limited Cream White Vinyl for Indies only https://overdriverec.bandcamp.com/album/extremities-the-albini-demos-and-live-beginnings-88	2026	€36.00
KINKELAAR, FREEK	WONDERSOUND. Discovering weird, wild and wonderful music	BOOK	Wondersound discovering weird, wild and wonderful music a book by Freek Kinkelaar hard cover, 282 pages For over thirty years, Freek Kinkelaar has been writing about music for publications such as Vital Weekly and renowned international magazine Record Collector Magazine. He has contributed liner notes for releases by labels such as Cherry Red, and also writes essays on music. Wondrous music. This book, Wondersound, is about being amazed, challenged, bedazzled and caressed by music. It documents Kinkelaar's discovery of obscure vinyl, cassettes, artist records and vanity pressings covering avant-garde, noise, ambient, lounge and experimental music. The book's quire presents nearly 50 examples of exuberant vinyl and cassette packaging. Featuring an introduction written by Edward Ka-Spel of The Legendary Pink Dots, Wondersound offers a dozen articles on, amongst others, noise music, Brainticket, The Gerogerigegege, Gary Wilson, Japanese erotic music, Rozz Williams, Vagina Dentata Organ and labels such as Come Organisation and Industrial Records. Over 80 columns cover artists as diverse as The International Sex Opera Band, SPK, Su Tissue, Pierre Schaeffer, Derek Jarman, La Monte Young, Princess Tinymeat, Zoviet France and Robbie the Werewolf! Added are an interview, liner notes and essays on why not to read lyric sheets and how Kinkelaar not only met a member of The Residents but, in the end, became one! With an aim to inspire and entertain, Freek Kinkelaar writes with a wicked sense of humour, a keen eye for Anorakian detail and a genuine love for music. Known for his own musical endeavours under various guises such as Beequeen (with Frans de Waard), Brunnen and a plethora of other names, Kinkelaar has been collecting weird, wild and wonderful music since 1980. This book is an essential read for those with an open mind towards the beautiful strangeness of sound. Wondersound. Design by Alfred Boland BLACK AND WHITE The book's quire of 50 images is printed in black and white. The book's front and back cover are printed in colour and the book's content is identical to the colour-printed version. The black and white version does not come with any of the additional extra's of the colour version. image: http://kormplastics.nl/wondersound.html	2021	€20.00
KIRKEGAARD, JACOB & NIELS LYHNE LOKKEGARD	Descending	LP	Descending is a composition consisting of two movements for room resonance, triangles, shakers and horns. The recording was made in August 2015, performed by the Aarhus Jazz Orchestra. Descending is Løkkegaard's and Kirkegaard's first collaboration. About the composers: The sound artists and composers Jacob Kirkegaard and Niels Lyhne Løkkegaard are both renowned for their ability to convert sound into a form with the character of an artwork and a bodily dimension that can be experienced by more than the ears alone. In his art, Jacob Kirkegaard uses acoustic phenomena that are usually either overheard or inaudible to the human ear. Using a range of sensors and recording methods, the material unfolds in compositions and spatial, visual and sound works. Niels Lyhne Løkkegaard's art focuses on the multiplication of sound, extending it beyond its usual boundaries to re-emerge in new forms, as well as on the creation of imaginary musical works that the listener has to envisage before their inner ear. Jacob Kirkegaard (b. 1975) graduated from the Academy of Media Arts in Cologne in 2006. His sound works are published by Touch (UK), Posh Isolation (DK), Von Archives (F) and Important Records (USA). Kirkegaard's works have been presented at a wide range of renowned exhibition platforms, festivals and conferences worldwide, including MoMA and Issue Project Room & The Stone in NYC, KW & Transmediale in Berlin, Mori Art Museum and Aichi Triennale in Japan, as well as Louisiana Museum of Modern Art and ARoS Aarhus Art Museum in Denmark. Niels Lyhne Løkkegaard (b. 1979) studied at Denmark's Rhythmic Music Conservatory and the Royal Danish Academy of Fine Arts' School of Architecture. He has created a wide range of works operating at the intersection of experimental music and sound art, including the soundtrack for MoMA's René Magritte exhibition The Mystery of the Ordinary in 2013. More recently he has created the critically acclaimed series SOUND X SOUND. Lyhne Løkkegaard is also the founder of the curatorial non-event Curatorium – a sound festival that never takes place. ********************************************************************************************************** Composed, arranged and mixed by Kirkegaard and Løkkegaard, 2015 - 2016 Performed by Aarhus Jazz Orchestra and recorded by John Fomsgaard live at Dokk1 in Aarhus, 2015. Front cover: Detail from Robert Fludd's Macrocosm Microcosm (1617-24) Supported by The Danish Arts Foundation & The Danish Conductors Association Jacob Kirkegaard: www.fonik.dk Niels Lyhne Løkkegaard: www.nielsloekkegaard.dk importantrecords.com/imprec/imprec447 "Presenting two compelling works composed by Danish sound artists** Jacob Kirkegaard & Niels Lyhne Løkkegaard and performed by the Aarhus Jazz Orchestra, Descending is a powerful exposition of extended acoustic technique used to bend the ear in fascinating ways. Revolving two pieces for room resonance, triangles, shakers and horns, the recorded results of Descending transcend the sum of their parts in gripping style. In Movement 1 they conduct a breathless transition from the polymetric interplay of triangles, sounding like a distant alarm bell, calving off into thinnest, cirrus timbres and reemerging as a mesmerising display of sustained, quivering, bittersweet horn dissonance culminating a stunning, keening finale. Movement 2 opens with those horns at a lower, sustained pitch, rolling across the stereo field with an uncanny precision that you would normally expect from electronic music, glacially growing in density to sound like an incoming Stuka formation, precipitating a nerve-biting swell of discord before returning, almost palindromic, to the polymetric rustle of shakers. Of course, the magick of the piece is much harder to describe, though. It lies somewhere in the relationship between the knowledge of the composers, the players’ incredible skill, and their recording space, whose unique characteristics are crucial to its success in keeping us enthralled from start to finish. It lies in the way they slide the sound around the sphere of perception, purposefully generating and controlling the resonant feedback until it becomes a part of the work itself, generating a lingering harmonic aura to the sounds which gels them in smoothly contoured transitions between each tightly disciplined cluster of pitches with a near-enough metaphysical structure. Stunning work. A rare treat for the lugs, especially if you’re into Eliane Radigue, Eleh, Harley Gaber, Harry Bertoia." [Boomkat]	2017	€24.00
KLANK	same	CD	"Two years in the making, aufabwegen presents the first ever studio album of Bremen-based MusikAktionsEnsemble KLANK. Co-produced by Radio Bremen’s contemporary music department and featuring singer Friederike Menz on various tracks, KLANK left its accustomed territory of energetic yet intimate performative stage action to enter the fine historic recording arena of Sendesaal Bremen. For this release the four members of KLANK focused on acoustic spaces and auditive situations recording hours and hours of material. While the opener RÅE N presents an almost architectural approach to the dense microtonal logics of noise and drone the three piece set of CONTAMINECHNO is a neat and surprising exploration of radioplayeske atmospheres and contemporary electronic music alike. The mono-ridden Der PRODUKTIVE KONSUMENT links the bobostertaglike assembling of ensembles at the computer with thoughts about various fields of consumerist homerecording while DIE MECHANISCHE CD for a moment neglects the data sound carriers and storage systems usually are used for, perceiving CDs, MDs and the like as sonic objects with their own musical quality. Closed by a brief passage through possible constellations within an improvising quartet, ÄÇEX, the release is, after all, linked to KLANK’s musical – live – practice. Additional information: www.klank.cc/cd/ On KLANK (the Artist): KLANK is a music/performance ensemble based in Bremen, Germany. Founded by improvisers Reinhart Hammerschmidt and Hainer Wörmann, sound-performer Tim Schomacker and composer / instrumentalist Christoph Ogiermann in 2008, KLANK’s sonic universe combines various musical experiences, influences and approaches.  KLANK soon found common ground in both, the complex and dense logic of the interaction in playing improvised music and in researching the musical potential of various materials from everyday life. Be it kitchen utensils, office equipment, children’s toys or tools from whatever workplace – KLANK is able and willing to declare almost everything a musical instrument to expand the range of its sonic creations. KLANK immediately realized that its music doesn’t just sound – but that it “looks like”, also. So the quartet started to focus on performative and site-specific concepts, establishing a unique brand of Klang-Aktionen (music- or sound-based performances) involving the use of body, voice, video and various theatrical elements. Improvisations and conceptual pieces for quartet remaining the core of KLANK-Arbeit, the ensemble conceived and produced a series of music/theater-pieces and performances for larger ensembles. Collaborating with visual artists like painter/video artist Dina Koper or filmmaker Jan van Hasselt KLANK presented performance pieces like ANUNDFUERSICH (2011) and films like UND BEFREIEN SIE VON WAS (2012). December 2013 will see a tour d’allemagne with french saxophonist Bertrand Denzler as the third installment of the bilateral THE FRENCH KONNEKTION program, an ongoing collaboration with Institut français de Brême." [label info] www.aufabwegen.de	2013	€13.00
KLUSTER	Eruption	LP	"Kluster was a short-lived project of three musicians/artists/performers: Dieter Moebius, Hans-Joachim Roedelius and Konrad Schnitzler. They recorded two albums in 1970, unprecedented in their experimental radicalism. Chaotic, apocalyptic (noise) improvisations, a sound later termed industrial music. Kluster disbanded as Moebius and Roedelius found the financial risk of bringing out a third album too daunting. Schnitzler decided to go ahead on his own, releasing the material they had recorded together, without any information or credits on the pure black LP sleeve. Moebius and Roedelius continued as a duo under the name of Cluster." [label info] www.bureau-b.com	2012	€25.00
KMRU	Stupor	LP	https://otherpower.bandcamp.com/album/stupor Nairobi-born Berlin-based sound artist Joseph Kamaru, aka KMRU, shares his new work Stupor on the new Helsinki-based label Other Power. Commissioned by the Helsinki curatorial and commissioning agency PUBLICS, Stupor is comprised of three original long form tracks. The tracks on the album are speculative notes to social architectures and environments the artist has traversed. As Bhavisha Panchia, a curator and researcher, writes in her liner notes: “A musical alchemist, KMRU places his listeners’ ear into a sonic-spatial matrix in which he transmutes his trans-local experience of place into elevated sonic dimensions that demand a kind of listening that you need to surrender to. If listening positions you inside an event – into a relational, social and cultural act that also positions us in the world – then listening to this album projects you inside an indeterminate unfolding, thick with tensions of movement and transitions. The artist’s pursuit of sounding out and responding to the world is undertaken through a creative mode of listening, recording and production, in which his ‘voice’ reverberates in his compositional arrangements – that mediate, translate, imagine and re-encode. As he engages with the environments he encounters, KMRU ‘renders sound negotiable, thinkable’. His signature emerges through electro-acoustic forms as he configures spatial and temporal imaginaries still tethered to the experiences of the places his ear encountered. The tracks on this album, Stupor, are speculative notes to social architectures and environments the artist has traversed. His orchestrated compositions and arrangements levitate us and turn our ears towards places and times beyond our reach, propelling us into a future anticipated but ungraspable. It is exactly the physical and psychological space that KMRU forges from his recordings and digital processes that stretch and transform them into prolific sound ‘events’. We could think of Nairobi and Berlin as instruments in KMRU’s compositions, where the east African city is the place from which KMRU’s listening has been nurtured, while the west European is the city to which his ear has been attuned. The artist’s relationship with Nairobi’s diverse neighbourhoods – from Kariokor flats in the Eastlands where he grew up, to the suburbs in Rongai – has shaped his approach. His ongoing recordings of the city are crucial to his process of working and become historical records that capture it in time. They could be thought of as aural archives of a postcolonial place, undergoing numerous planned and unplanned infrastructural as well as economic changes. He treats these sonic documents of a rapidly expanding postcolonial environment – alongside globalisation, hyper-capitalism and increasing economic disparity across the globe – as the foundations from which he creates. Stupor reminds us that we are intrinsically spatial and temporal beings who contribute to the social construction of our worlds. Importantly, this album is a reminder of the capability of sound to carve out space and its potential to open spatial and temporal dimensions. Sound is movement. Sound is space. As Brandon LaBelle points out, “sound is both a thing of the past and a signal of the future”, pulling us forwards and pointing us back. The signals KMRU points us towards are indefinite, indeterminate and uncertain. They lean towards a future, yet never fully arrive there. For Joseph Kamaru, sound is a sensorial medium through which social, material and conceptual interpretations are manifested in his works. KMRU carries with him a repository of listening experiences from Nairobi and beyond expanding his sonic practices, bringing an awareness of surroundings through creative compositions, installations and performances. KMRU has carved out a serious and definitive space on the list of essential authors in ambient experimental music - one of the most prolific and innovative artists in his field. Composed by Joseph Kamaru Mastered by Stephan Mathieu at Schwenbung Mastering Original photos & artwork by Joseph Kamaru OBI Design (Publics identity presence) by Valerio Di Lucente Design by Matti Nives Black vinyl LP edition of "Stupor". Inside out sleeve complete with OBI and printed inner sleeve with liner notes by Bavisha Panchia. Original photography and artwork by KMRU.	2023	€26.00
KOLACKI, RAFAL	Mowa Tworzenia	LP	Rafał Kołacki, well known for his activities in HATI, Innercity Ensamble, Molok Mun and Mammoth Ulthana, who also has a number of solo publications and in collaboration with other artists. An enthusiast of field recordings, which we have also published over the years on Zoharum. He returns with a new studio album. "Mowa Tworzenia" ("Speech of Creation") contains 10 instrumental compositions with a post-industrial flavour, sometimes based on field recording. The publication perfectly reflects the nature of the work that has evolved over the years, enriched with experience gained during cooperation with very different artists and as a result of constant research. These ten compositions constitute an open formula that forces the listener to actively, carefully listen and, in the process, reinterpret it. https://zoharum.bandcamp.com/album/mowa-tworzenia	2024	€20.00
KOMMISSAR HJULER & FRAU / JAAP BLONK W. BRAAXTAL & JÜRGEN OLBRICH	Das Kapital	LP	LP in the series FLUXUS +/-, limited to 100 copies, numbered. Tracks by Kommissar Hjuler und Frau are remastered by Sven Mühlender, Berlin. The album DAS KAPITAL is conceptual collaboration by Jaap Blonk, Jürgen O. Olbrich and Kommissar Hjuler with special focus on Karl Marx' theories, all three artists focussed on special aspects of "DAS KAPITAL" in comparison to modern capitalism structures. Album is starting theoretically and ending in an overload as "Game Over". Cover on front shows the work "Enter Konsum" by Kommissar Hjuler, which was prize winner of an art contest by Kleine Zeitung (Austria), cover backside shows a digital collage by Jaap Blonk, especically created for this album.	2017	€20.00
KÖNER, THOMAS / ASMUS TIETCHENS / DITTERICH VON EULER-DONNERSPERG	Untitled	maxi-CD	"A Three track CD EP released in conjunction with a live performance on the 29th April 2012 on the MS STUBNITZ in Bremen. Initial copies were given away for free to ticket holders on the night of the concert. Exclusive tracks by all artists: 1. DITTERICH VON EULER-DONNERSPERG 'Die Schnarrmaus des kleinen Fritz' 5'37min 2. ASMUS TIETCHENS 'L10RA' 11'03 min 3. THOMAS KÖNER 'Le Bateau Ivre' 3'48min Limited edition of 500 numbered copies in full color slipcase cover." [label info] www.diestadtmusik.de	2012	€10.50
KONGO	Blubber	CD	"Henrik Nordvargr Björkk and Peter Nyström are both well known figures in the realm of dark soundscapes. They have been providing their obscure sonorities for decades now and each new release by either of the two legendary artists is an awaited treat. With their new project KONGO, Björkk and Nyström set off on a journey where they delve deep into early industrial music: using cut-up technique, processing speech samples, looping distorted melodies and making Blubber the ultimate homage to Severed Heads and Cabaret Voltaire’s works. It’s hectic, obsessive, and crazy. And it’s got that punk feel to it – a perfect soundtrack to the fucked-up world we are living in. Comes with an amazing artwork by Kellerman Design in a digipack edition of 300 copies." [label info] ur-muzik.blogspot.de	2016	€12.00
KONTAKT DER JÜNGLINGE	0 (live Rostock, MS Stubnitz, 10.02.2001)	CD	"The second installment of the ongoing Asmus Tietchens and Thomas Koner project. It's a bit puzzling why there is a '0' on the cover as the recording dates after the first CD that was released (and which had '1' on the cover). The series of which this is part are all live recordings and this one was made at the MS Stubnitz, the well-known boat that usually harbors in Rostock, Germany. If one is familiar with this boat, one knows the steel inside where the artists play their music. Somehow I feel that the interior of this boat is reflected by the music. Starting out for the first 15 or so minutes with what sounds like an engine roar and followed by water as metallic sounds, or metallic sounds that sound like water. Submarine sounds, kinda like the 'Skagarak' LP by Werkbund, ages ago (when we believed that Asmus was a member). More austere then the previous recording by Kontakt Der Junglinge, more dark too. It sounds more like a try out concert, in which the refinement is not entirely present. However it's still a fine disc of sound processing for a relatively simple set of sounds. You can't go wrong with these German meisters..." [FdW / Vital Weekly]	2001	€14.00
KRAKOWIAK, TOMASZ	A/P	7	"On one hand, Krakowiak's recordings should not be a surprise to those who follow his activity on the free-improv scene, after all his recordings continue to penetrate the acoustic properties of individual percussion instruments. However, when this scene is slowly moving in the blind alley of predictability, and critics increasingly yearn for newer sounds and surprising collaborations, the latest Bocian Records release is a strong contrast. First, Krakowiak deliberately departs from the hi-fi aesthetics being associated with recordings of artists applying a similar approach to the percussion instruments (such as Christian Wolfarth, Jon Mueller or Jason Khan). These two pieces, recorded without any effects or processing are the sound of a single cymbal recorded with an old cassette tape. But this is not a tribute to the trendy, lo-fi aesthetics and Hypnagogic,the imperfections and the characteristic "analog" sound is Krakowiak's goal in itself, not a postmodern game of the genre convention (which many show in recent years). Finally, precision and attention of theserecordings make me think of Harry Bertoia's sculptures, or vitality of ideas and textures of Morphogenesis. A vitality, which often is to be sought among contemporary drone music publications." [Daniel Brożek] www.bocianrecords.com "One Tomas Krakowiak uses a cymbal and a stereo microphone on his 7". Both sides last exactly four minutes fifty-nine seconds, and one piece is called 'A' and the other is called 'P'. He plays the cymbal by using objects to create rotating sounds, to lift up the cymbal make it sing in overtones. Somehow I think these pieces are layered from various recordings, but of course I might be wrong. 'P' is the more droney version of the two, 'A', the more acoustic one. Both pieces aren't flawless, one hears small 'mistakes' of whatever it is to sets the cymbal to vibrate, which adds, me thinks, a nice human touch to it. Maybe all a bit too short for the format of a 7", and a 10" would have been more in place. But nice it is for sure." [FdW/Vital Weekly]	2011	€7.00
KRAUSBAUER, JOHN & R KEENAN LAWLER	Spectre of Radiants	CD	R Keenan Lawler & John Krausbauer's “Spectre of radiants” is a droning, everlasting buzz of strings, gently undulating and intersecting. Unconventionally played, as usual, the resonator guitars and the banjos, builds the perfect stream of sound to accompany your longest days. Fitting in the ultraminimalist/drone panorama, this acoustic gem follow the lineage draw by authours like Phill Niblock, Tony Conrad or Elaine Radigue, mixing and confonting it with the direct attitude toward sound of people like Jim O'Rourke to finally build another chapter in the investigation on acoustic and physics that underline the very musical spirit of the authors. R Keenan Lawler is a Louisville, Kentucky based multi-instrumentalist, improviser, composer, and sound artist. Influenced and obsessed by post-punk, jazz, free improvisation, ancient and modern classical music, blues, nature, non-western music and a philosophy of "transcendence through sound." He is best known for developing a highly focused idiosyncratic language on the metal-bodied resonator guitar, extending its timbral and harmonic range far outside the usual role in bluegrass and blues. Lawler has performed solo in the US and Europe, and has worked with a wide range of diverse artists including Matmos, Pelt, Rhys Chatham, My Morning Jacket, John Butcher, Susan Alcorn, Tatsuya Nakatani , Helena Espvall, Lukas Ligeti, Ignaz Schick, Phillip Samartzis, Jack Wright, Tim Barnes and John Krausbauer. His sound art has been presented in Moma/PS1, Brooklyn, Henry Art Gallery, Seattle, and in collaboration with artists Thaniel Ion Lee, Sandra Gibson, Valerie Sutherland Fuchs, and Russell Hulsey. He has shared stages with artists as diverse as John Fahey, Widespread Panic, Sudden Infant, Jim Carroll, and Vieux Farka Toure. He is presently performing solo, with various collaborators, and as a member of music collectives WET, Limited Hangout and Seismic Corruption Band. John Krausbauer is a composer/multi-instrumentalist/improviser based in Oakland, CA and co-founder of the Los Angeles publishing label, Besom Presse. A long time purveyor of the ur-drone and trance-psychedelia, his work involves audio transmissions for TOTAL/immersive sensory experience. Transcendence through repetition, duration, alternate tunings, maximum volumes, and stroboscopic lighting. He's performed and presented his music across N America, Europe, and Japan in a multitude of settings - from basements, sidewalks, and rock clubs to colleges, churches, and art museums. Over 20 recordings of his have been released on independent labels in the US, Europe, and Japan. His group and solo music can be found on Important, Beta-Lactam Ring, ANTS, Fabrica, Debacle, Autumn, Thin Wrist (upcoming), and a number of other international labels. His current music projects include the Ecstatic Music Band (a 10+ member-collective of strings players); solo music forvoice, violin, and synth; his collaboration with partner, Kaori Suzuki, with bells, voices, strings, tape; the Minimalist psych-punk group Night Collectors; his systems-based phase compositions; and ongoing duo collaborations with Kentuckian steel bodied resonator guitar player R. Keenan Lawler, NYC bagpipe player David Watson, and Tokyo based guitarist Tetuzi Akiyama. R Keenan Lawler: National Steel resonator guitars John Krausbauer: banjos https://ants4.bandcamp.com/album/spectre-of-radiants	2020	€13.00
KRIEGER, ULRICH	Fathom	CD	"NEW SERIES FRAMEWORK: is an extension of our CONCRETE ELECTRONICS NOISE, a brand new mix-up of unusual conceptions of sound material by young unknown composers, well known not-so-young composers and old but clever composers. 40 minutes of music, 1 photograph and a geometric form. Limited to 700 copies. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Ulrich Krieger studied classical saxophone, composition, electronic music and musicology at the Manhattan School of Music (New York), the Universität der Künste (Berlin) and the Freie Universität (Berlin). Since the late 1980s he became more and more interested in American music and its different approaches (chance music, process music, just intonation, multi-stylistic, minimalism, drone). In 1991 he moved to New York. In the 'Cage of Saxophones' series Krieger recorded the complete saxophone and any-instrument works of John Cage for Mode Records.The first one focuses on drone music (Cage, Tenney, Niblock), while the second focuses on pattern music (Reich, Glass, Riley) In the early 1990s he started working on a more electronic approach. He began developing an original amplification for the saxophone and various live-electronic signal processing set-ups. In the electronic experimental field he collaborated with rock, noise and ambient artists like Karkowski, Merzbow, Koener, Toeplitz. He also worked with the Berlin ensemble "zeitkratzer" for which he transcribed Lou Reed's Metal Machine Music. Text of Light is a 2001 founded formation with Lee Ranaldo and Alan Licht, performing along with films of experimental film maker Stan Brakhage (1933-2003). Metal Machine Trio began in 2008 together with Lou Reed and Sarth Calhoun as an experimental free rock project." [label info] www.subrosa.net	2010	€13.00
KRÜSI, HANS	ExHK	LP	While preparing a new edition of Anton Bruhin works in 2008, Alga Marghen discovered some mysterious tapes by Hans Krüsi. Fascinated by the raw and brute contents of those sounds, mixing field recordings of insects, sheep, and distant bells with primitive chanting, percussive noises, and distorted radio folk songs, Alga Marghen started to conceive one of the most obscure editions in the catalog, an LP to be issued in collaboration with the Swiss Kunstmuseum des Kantons Thurgau (the repository of the artist's estate), published on the occasion of Alga Marghen's invitation to the Artist's Record Pavilion at Art Basel 2008 in an edition of 200 copies and instantly sold out. The Swiss-born, self-taught painter Hans Krüsi (1920-1995) was a wiry man who eked out an existence on the margins of society. Even among outsider-art experts, his work is less well known than that of his Swiss compatriot Adolf Wölfli, who died in 1930 and whose richly patterned drawings have become treasures of classic European art brute, or raw art, made by untrained, visionary artists. Krüsi was orphaned as an infant and brought up on a farm in northeastern Switzerland by foster parents who largely ignored him. He scraped by with odd jobs (including gardening work) and eventually settled in the city of St. Gallen. There, Krüsi lived in run-down buildings. In his late 20s, he began commuting by train almost daily to Zurich, to the west, where he sold flowers and, later, his artworks, on the Bahnhofstrasse, one of the most luxurious shopping streets in Europe. Among the wall-to-wall clutter of Krüsi's ramshackle lodgings, where pigeons flew in and perched, evidence of an unexpectedly experimental spirit abounded, including Krüsi's old cameras and the second-hand tape recorders with which he liked to capture the sounds of birds, insects and church bells. The artist's inventiveness and fertile imagination seemed to contrast sharply with his humble way of life. Krüsi took subjects from the agrarian world that he knew: alpine farmhouses, forested mountains, cows, birds, rabbits and cats. In his varied oeuvre, the folkloric and the psychedelic often appear to converge. Some works are even hallucinatory, with bright, brushy passages of acid green, lemon yellow or Pepto-Bismol pink in which watchful, lounging cats, clusters of dithering birds or watery human figures huddle or writhe. After being out-of-stock for 15 years and following the many solicitations over the past decade, Alga Marghen decided to do a new edition to be included as the first record of the new Musique Brut series. Edition of 150.	2023	€23.50
KRYPTOGEN RUNDFUNK	Liquid Circuits	CD	" "Liquid Circuits" is the second solo studio album by Kryptogen Rundfunk released 12 years after the debut album "22.SZ" (Mechanoise Labs, 2004). The gap between these two works was filled with many collaborations and split recordings with such artists as Hladna, Lunar Abyss, Neznamo, Umpio, Forgttn, to name a few, and many tracks on various experimental and noise music compilations. Behind the project stands M.M., also known for running the ZHELEZOBETON and Muzyka Voln labels and participating in other projects such as Hattifnatter, Govorit Radio Kosmos, etc. The album is built on the use of analogue synthesizers and effect processors, various found sounds, samples and, of course, traditional for this project multiple kinds of radio noises and interceptions recorded both in home studio and various unusual places (the Caucasus mountains, Kola polar region, several cities of Western Europe…). Kryptogen Rundfunk combines elements of sound collage, drone and dark ambient, power electronics, chaotic and structured noise, weaving his multilayered musical fabric from them. Sonic streams radiate with all shades of frequencies, looped pieces of interference spiral out and soft rhythmic pulsations make room for scorching detailed electric noise burning out holes in sonic perception."	2016	€12.00
KUBISCH, CHRISTINA	Night Flights	CD	"Reissue of this 1987 album, originally issued on Auf Dem Nil. "Night Flights is a groundbreaking work from one of the most influential of the first generation sound artists. For some reason, this staggering work has been left out of print for over 20 years. Night Flights has been remastered and includes updated liner notes from Christina Kubisch. Night Flights is being released in conjunction with Kubisch's release of new work for Important Records titled Invisible/Inaudible: Five Electrical Walks." [label info] www.importantrecords.com	2007	€15.00
	Magnetic Flights	CD	"Two brand new pieces from one of the most exciting, active & relevant members of the first generation sound artists. Magnetic Flights is a perfect follow up to Five Electrical Walks (IMPREC167) and it is being released at the same time as a collection of two of Kubisch's unreleased archival pieces, also on Important. Magnetic Flights is entirely made of electromagnetic field recordings of international airports and inside airplanes. The recordings of this piece were made by Christina Kubisch on her travels in 2007 from and to the airports of Bukarest, Manchester, Chicago, Seoul, Munich, Amsterdam, Zurich, Frankfort, Paris, Lisbon, Berlin, Pisa, Milan and London. The sounds were not altered electronically nor changed in any other way. The only tool ,which was used for a part of it, was a filtering program (DINR) All recordings were made with the help of special sensitive wireless headphones, by which the aboveground and underground electromagnetic fields are detected, amplified and made audible. The headphones are custom made and have been develeoped by myself and constructed by the engineer Manfred Fox, Berlin. The sounds are much more musical than one could expect. There are complex layers of high and low frequencies, loops of rhythmic sequences, groups of tiny signals, long drones and many things which change constantly and are hard to describe. Magnetic Flights consists of three parts with a short special sound at the beginning and another one at the end. The piece starts with an electromagnetic sound recorded just before departure and continues with the material of flight radiations recorded inside different airplanes. These electromagnetic fields slightly change pitch during departure and arrival, but remain quite constant during the flight itself. The relatively high and compact sounds gradually build up a dense layer of vibrations with continuous minimal variations. In the second part some of the previous flight radiations gradually become filtered. The single signals mingle into a mix of small, short, nervous and very rhythmic signals. Their origin might be radio waves, communication signals with the tower , internet and atmospheric disturbances., but this is only a guess. The third part, the situation of arrival or transition, is a mix of typical electromagnetic sounds in the waiting areas of airports such as the deep vibrations of the screens of monitors which slowly fade in and out. The piece ends with the electrical flickering of an electromagnetic field of unknown origin. Christina Kubisch belongs to the first generation of sound artists. Trained as a composer, she studied painting, music (flute and composition) and electronics in Hamburg, Graz, Zürich and Milano, where she graduated. Her work can be described as the “synthesis of arts” - the discovery of acoustic space and the dimension of time in the visual arts on the one hand, and a redefinition of relationships between material and form on the other. Kubisch is best known for artistically and innovatively using techniques such as magnetic induction and ultraviolet light to create and realise her work.Since the 1970’s Kubisch has been experimenting with electromagnetic induction and was one of the first to use this method for creating sound installations. Some of her most well know works include the Electrical Walks series, where audience wear magnetic headphones, specially designed by Kubisch, with built-in coils that respond to electrical fields in the environment. Tapping into the electrical fields that result from light systems, anti-theft security devices, surveillance cameras, cell phones, computers, antennae, automated teller machines and other electric devices, she uses these visible sources to create unique and new sensory environmental experiences. In the mid-1980s, Kubisch began to incorporate light as a compositional tool in many works, for example in the installation Skylines at the documenta 8, Kassel; the underground installation Klang Fluß Licht Quelle on Potsdamer Platz in Berlin and more recently Licht Himmel a permanent light sound installation at Gasometer Oberhausen, Germany. Since 2003 Kubisch has begun to work again as a performer and collaborates with various musicians and dancers, one of whom is Lotta Melin, with whom she will be co-facilitating the Lisbon workshop. An internationally recognised artist, Kubisch has shown work at major international exhibitions and festivals (Venice Benniale, documenta 8, Kassel, Ars Electronica, Linz, Sydney Benniale, Sonar, Barcelona and Sonic Boom, London) performing around the world she has received numerous grants and awards and her music has been realised on various labels such as Cramps Records and Edition RZ. Kubisch has been visiting professor in Maastricht, Paris and Berlin and since 1994, is currently the professor for sound art at the Academy of Fine Arts, Saarbrücken, Germany." [label info]	2011	€15.00
	Schall und Klang	CD	»Schall und Klang« is the result of Christina Kubisch's extensive fieldwork on the trail of Hermann Scherchen (1891-1966), conductor and key figure in 20th century new music. After moving to the village of Gravesano (Ticino/Northern Italy) in 1954, Scherchen established an electroacoustic experimental studio on his premises and created a meeting place for scientists, composers, musicians and sound engineers from all over the world. Among his guests were Iannis Xenakis, Luc Ferrari, Edgar Varèse and Luigi Nono, just to name a few. Originally commissioned and broadcasted by Deutschlandfunk Kultur, »Schall und Klang« is a personal portrait of Scherchen and his time in Gravesano. Kubisch brings together archival footage from the Scherchen estate and the Scherchen archive at Akademie der Künste in Berlin, tape recordings, recited texts from Scherchen's own quarterly »Gravesaner Blätter« as well as her own compositions and field recordings referring to her research made on site in 2016. »I have built this studio for myself [...] as a direct activity for my existence. I live Gravesano« (Hermann Scherchen) Production: Deutschlandfunk Kultur / Studio für Elektroakustische Musik der Akademie der Künste / Studio Hoppegarten 2017. Edition of 500 copies in Digipak, incl. 8pp booklet with photos and texts by Christina Kubisch. Christina Kubisch, born 1948 in Bremen, belongs to the first generation of sound artists in Germany. Studied painting, music and electronics. Own compositions since 1972. From 1980 increased sound installations, sound sculptures as well as electroacoustic compositions and radio plays. International scholarships and awards. Teaching as a professor of audiovisual art from 1994 to 2003 at Kunsthochschule Saarbrücken. Christina Kubisch is a member of the Berlin Academy of Arts. In 2016 she was awarded the Karl Sczuka Prize together with Peter Kutin and Florian Kindlinger for the piece "Desert Bloom" (WDR 2015). Her musical works have been released by labels such as Important Records, Edition RZ, Cramps Records and Gruenrekorder. Kubisch lives in Hoppegarten near Berlin. https://soundcloud.com/fragment-factory	2019	€13.00
KUBISCH, CHRISTINA / FABRIZIO PLESSI	Two and Two	LP	TWO AND TWO is the outcome of the ambitious research developed by Christina Kubisch and Fabrizio Plessi in 1976, a collaborative effort towards the merging of visual and sound elements into a new form of intermedia. Influenced by the aesthetics of Fluxus, the duo produced a highly complex and articulated performance, involving two camera operators and several video screens, as well as a variety of objects and unconventional instruments. The results is structured into four parts inspired by the natural elements, in which single instruments loose their different sonic characteristics to become inseparable parts of a unique visual/acoustic process. SIDE A EARTH 9:44 Alto flute, Voice: Christina Kubisch Violoncello, Electric vibrator: Fabrizio Plessi FIRE 10:31 Swanee whistle, Voice: Christina Kubisch Contact microphone on ventilator: Fabrizio Plessi SIDE B AIR 11:16 Alto flute without headpiece: Christina Kubisch Acordeon: Fabrizio Plessi WATER 11:36 Electronic metronome: Christina Kubisch Waterjet on steeldrum: Fabrizio Plessi www.songcyclerecords.com "Two and Two is an entrancing, historic slab of mutant sound pressure realised in 1976 by pioneering sound artists and Fluxus affiliates Christina Kubisch and Fabrizio Plessi. In striving towards “the merging of visual and sound elements into a new form of intermedia”, the duo forged an exceptional early iteration of rhythmic, electro-acoustic noise which still sounds like it was beamed in from another planet, making this first ever vinyl issue very welcome around these parts. The original performance - of which this is a recording, made on June 17th & 18th, 1976 at Fono Play Studios, Milan - involved two camera operators and a wall of video screens displaying close-ups of the performers actions in a symbiotic representation of what the audience was seeing and listening to, attempting to induce synaesthetic sensations and both loosen up, and lose, the primary sonic characteristics of their chosen instruments in the process. Working to repetitive, techno or raga-like modal phrasings, they use a range of unconventional tools to animate and excite their instruments in ribboning streams of sound. On Air, Christina manipulates her own voice and alto flute whilst Plessi plays a Violoncello with an electric vibrator, resulting what sounds like a pack of wolves circling a wounded buffalo on a bleak high plain at midnight, whereas with Fire they conjure flickering electronic partials and playfully swooping cadence from a Swanee Whistle and contact microphone applied to a ventilator to sound like Clangers on their way to the cheese mines. Likewise in Air Christina’s breaths on an Alto Flute without headpiece are combined with vicious accordion to sound like an astronaut lost in space who receives a deathly distress signal, and the rapid ostinatos of Water elicits comparison with an amplified chorus of hooligan cicadas on their way to a big cup game, when it was actually made using an electronic metronome and water jet on a steel drum. Most crucially, this isn’t an academic piece, but neither is it trivial; there’s the real sense that Christina and Plessi are in pursuit of the most elusive sounds, and safe to say they’ve located at least some of them within." [Boomkat]	2017	€28.00
KUBISCH, CHRISTINA & ECKEHARD GÜTHER	Mosaique Mosaic	CD	"My first visit to Cameroon in summer 2010 occurred thanks to an invitation by the Goethe-Institut Yaoundé and the independent art organization Doual’Art. During my residency I prepared a sound installation for a festival in Douala in December. I also conducted a workshop, together with Eckehard Güther, for young local musicians and artists on the theme of field recordings. Field recordings? In the cities people are surrounded by distorted sound systems playing lo-fi illegal copies of Cameroonian as well as international pop music. The sounds from church services, instruments and voices are all amplified as well – the louder the better. A lot of what you hear comes from speakers. The workshop held surprises for everybody, most of all for us: the participants led us to many hidden places with sounds they thought would be of interest to us. And we noticed that we were mistaken in our prejudice of sounds which might be unheeded: these people did listen, they had the most musical ears, they knew a lot about their “field”. But so far they had not felt any necessity to store these sounds. So we started our exchange: they got the recording facilities and we got a little bit of their ears. Cameroon is a noisy country with unexpected and subtle soundscapes. We were brought to places we never would have discovered ourselves. This was the basis for a “sound diary” which was continued during a long trip into the North of the country and as well during our second visit in and around Douala in the winter time. Music is one of the most important forms of communication in Cameroon, a country with hundreds of different languages and ethnic groups, it is a link which binds them all together. I am glad that we could participate in this sonic experience with the help of many local people. The places we recorded were not arranged in advance, we just happened to be there and sometimes the recordings were made with quite simple equipment. Listening was the most important experience and hopefully some of this personal experience will shine through in this release. All the field recordings are unprocessed, but parts of them are assembled and mixed together." [Christina Kubisch] www.gruenrekorder.de "Our journey starts in Africa, Cameroon to be precise, which is, according to Christina Kubisch a noisy country 'with unexpected and subtle soundscapes'. In 2010 she visited the country for the first time and did an installation and a workshop on field recordings. I've never been to Cameroon, (nor, spoiler, any of the other places on these three new Gruenrekorder) releases, but I can imagine the sounds of a busy city, with lots of music, old and rusty cars, people talking, call for prayer service, but also quiet recordings from the country side, in the 'National Park Waza'. The titles of the pieces explain what we are hearing and it makes up a great audio journey to Cameroon, and a fine balance between nature sounds and human interference." [FdW/Vital Weekly]	2013	€13.00
LA STPO (La Société des Timides à la Parade des Oiseaux)	Les Explositionnistes	CD	"The ‘Shy peoples society at the parade of the birds’ (STPO) have been around since 1984 and I have had the pleasure to write about their intriguing music previously. It has been a while though, as La STPO’s last album ‘Les Liquidateurs’ was released three years ago. This album, ‘Les Explositionnistes’, note a trend in titles, was in fact recorded between 1993 and 1995 and first released in 1995. This new release is a re-mastered version of the 1995 edition. Unfortunately I cannot compare the sound to the original version, but the new version on Exklageto sounds clear and direct. The shy people number (around) six and to me have always formed an intriguing link between say the archaic beauty of Déficit Des Annees Anterieures (with whom they share a home country, in this instance France, as well as a love of four letter abbreviations - DDAA) and Magma (who also hail from France – let’s face it; where else would you find a big band playing prog-jazz mixed with avant-garde?). This album adds to their catalogue of unpredictable, eclectic, high-energy music. ‘Les Explositionnistes’ listens like an art manifesto; several tracks are dedicated to/inspired by artists such as Max Ernst, Pablo Picasso, Barnett Newman, Asger Jorn and Lyonel Feiniger. The last name was a new one to me; Feiniger being a turn-of-the-century (we’re talking 1900 here) representative of Expressionism, which makes perfect sense in the world of les explositionnistes. The cover is clear on the subject; depicted are a number of people (shy people?) who have just attached a bomb to a painting, ready to blow up the art world – ‘les explositionnistes’ indeed! Blowing up the art world is one thing, in fact the artists mentioned earlier certainly did, but what about blowing up the music world? Is La STPO the musical ‘explositionnistes’? You could argue that La STPO plays expressionistic music: it bounces all over the place, energetic and devoid of basic musical ‘rules’ such as ‘try to keep one tempo per song’ or ‘do not create any complex breaks’. Good. Their songs are played on traditional instruments, such as guitar, bass, drums, woodwind etcetera. There are no soundscapes or drones to be found, which in a sense is refreshing. As said, the music, especially when the tempo slows down, reminds me of DDAA, a group of artists I dearly love and on whose label, Illusion Production, La STPO released an EP in the 80s. But to be honest, La STPO (which my auto correct annoyingly keeps auto changing to STOP) rarely slow down. The music keeps a nervous, jumpy and unnerving edge throughout its ten songs. It reminds me at times of the organized chaos of say The Mothers of Invention. Les Explositionnistes is exactly that: an explosive mix of instruments, structure and sound, aurally exhausting (to me), but rewarding – blowing up the world of music is something La STPO is more than capable of." [FK/Vital Weekly]	2018	€13.00
LAABAN, ILMAR	Ankarkättingens slut är sängens början	CD	Obscure Swedish sound-poetry with some very old recordings, from one of the lesser known artists in this field where meaning of words meets with the noise of words... Comes with nice gold-embossed small book with texts, pictures and graphics, all in Swedish ! “Ilmar Laaban´s poetry, practically a class in itself in Sweden, traverses linguistic borderlands where words can get split and torn apart, reduced to something beyond words, perhaps more universal than words, but where the various components can just as often be reassembled in new words. The cycle of destruction and construc- tion always fascinated Laaban the word-wright and word-kneader, going through it over and over again to find the cracks and clefts from which an unexpected spring might well forth.” Like Tristan Tzara he holds to the maxim "thought is born in the mouth. Laaban´s poetry, which gives sound and form to the subconscious, is a poetry of utterance, and therefore speaks for itself. But the appended compilation of statements on the subject, from the writer himself, nevertheless offer a rewarding insight into his poetic method and reveal much about the associative pathways down which his imagination has wandered. This CD begins with two examples of Labaan´s surrealist recitation from the 40´s and 50´s, followed by some of his polyphonic text-sound poetry (which he started in 1967), and finally some sound poems from the 90´s. Ilmar Laaban was born in Tallinn, Estonia in 1921. He studied Romanic languages at the university of Tartu and musical composition at the Tallinn conservatory. To avoid being drafted into Hitler´s army he fled to Sweden in 1943. He had already been writing surrealist poetry in Estonia, and continued in the same vein in Sweden, supporting himself as a freelance culture and art reviewer. His grasp and overview of the international art arena gave him an important role as a guide and source of inspiration for many artists who came in contact with him, not the least those in the circle around Fylkingen.” [label info] www.fylkingen.se	1998	€12.50
LAIBACH	Bremenmarsch: Live At Schlachthof, 12.10.1987	LP + CD	"Laibach is art, but more than just art. Founded on 1st June 1980 in the then heavy industrial Yugoslavian town of Trbovlje (today a city in central Slovenia), the band took their name after the German designation of the Slovenian capital Ljubljana which was undesirable in Yugoslavia during the Tito's and post-Tito era. In 1987 Laibach signed a long-term contract with Daniel Miller's renowned London Mute Label and had finally found their musical home. The artists roster of Mute included such well-known artists as Depeche Mode, Nick Cave, Erasure, Yazoo, Moby and also Kraftwerk. From now on the commercial success story of Laibach could also be written. Mute released Opus Dei. The album includes, inter alia, a specific 'Laibach' - interpretation of 'Live Is Life', the big single hit of the Austrian group Opus (one as a German version under the name 'Leben heißt Leben' as well as an English version under the title 'Opus Dei') and also the interpretation of the Queen track 'One Vision' (in German under 'Geburt einer Nation'). The sound of Laibach had become more commercial, the avant-garde and industrial parts gave way in favour to Laibach's 'militant classicism', the band had found its style. Laibach went on tour, now playing in larger halls and clubs in Germany. On 12th October 1987 Laibach made a stop at the Bremen Schlachthof. Here the live album Bremermarsch was recorded, which is now released 33 years later. In spring 2020 Laibach edited the 'old' original recordings and digitally mastered them in their studio. The recordings sound fresh and unspent, the sound is great, the mood in the audience as well. And that Laibach is performing the 'hits' such as 'Die Liebe', 'Life is Life' and 'Geburt einer Nation' ('Birth of a Nation') can almost be taken for granted." www.mig-music.de/en/laibach-bremenmarsch-live-at-schlachthof-12th-october-1987-news/	2020	€21.50
LAMI, GIOVANNI / HANNIBAL CHEW II / BARDO TODOL	Stories del Tiburon Lloron del Amazonas Cassette	3 x MC set	Three-part journey into an imaginary Amazon from three artists working on the fringes of Field recordings. Stories del Tiburón Llorón del Amazonas picks up where the previous, Stories of the Indian Dotted Whale trilogy left off. This time, the same three artists, Giovanni Lami, Hannibal Chew II aka Gonçalo F Cardoso and Bardo Todol aka Pablo Picco return to riff on an imaginary crying shark, known to swim in the amazon river. The sad and melancholic shark has never been seen but its weep and sob can be heard all over the region. Here are three works of sympathetic howls for a lonely and misunderstood creature. First part from Giovanni Lami is made of ghost recordings made during 2020 in Iquitos, Perú, in the amazon forest during the film shoot of Tras el Barco de Fitzcarraldo. Second part from Hannibal Chew II is a collection of re-assembled recordings and jams gathered from a trip through the Amazon in late 2017 to early 2018. Later assembled during various improvised recording sessions during the long hot summer of 2023 in Tenerife, Canary Islands. The third and final part comes from Bardo Todol and features abrasive tape and digital field recordings manipulation made by Picco in Iquitos in 2020 during the shooting of Tras el barco de Fitzcaraldo. All three feature sounds of: people talking, static radios, Saturday night churches, river people, shawi people, dolphin people, shark people, market people, vibrating insects, zombie insects, giant insects, giant motors and of course various weeps of a crying shark. SUC58 = Red cassette shell SUC57 = Yellow cassette shell SUC56 = Pink cassette shell First part from Giovanni Lami is made of ghost recordings made during 2020 in Iquitos, Perú, in the amazon forest during the film shoot of “Tras el Barco de Fitzcarraldo”. Second part from Hannibal Chew II is a collection of re-assembled recordings and jams gathered from a trip through the Amazon in late 2017 to early 2018. Later assembled during various improvised recording sessions during the long hot summer of 2023 in Tenerife, Canary Islands. The third and final part comes from Bardo Todol and features abrasive tape and digital field recordings manipulation made by Picco in Iquitos in 2020 during the shooting of “Tras el barco de Fitzcaraldo”.	2024	€25.00
LAMMERS / USENBENZ	Drawing in Sound	LP	Drawing In Sound is a live improvisation, created by sound artist Andreas Usenbenz and illustrator Christoph Lammers for the exhibition opening of "Wiese" ("meadow") by artist and curator Andreas Pytlik at Städtische Galerie Rosenheim in the spring of 2018. Prior to the performance, the artists exchanged ideas, drawings and sound improvisations to find a way of approaching the topic of 'meadow' in the context of contemporary drawing and contemplative soundscapes. During the performance, illustrator and sound artist entered a dialogue: Usenbenz created subtle sound textures and phonographic collages of rustling hay, records, guitar sounds, field recordings, tapes and effect devices. Lammers opened all senses to both space and sound. Reacting intuitively, focussing on the moment and with great physical effort he composed his images, formed structures from lines and shapes. Using charcoal, ink, brushes and his bare hands, he filled the 7 by 4 metre canvas, vigorously at times, then almost delicately, providing stimuli in turn picked up by Usenbenz. Ultimately, this "conversation" between the two artists gave rise to a different interpretation: Everything grows of its own accord. Played and improvised by Andreas Usenbenz, using objects, lo-fi microphones, contact microphones, field recordings, guitar, ebow, looper, ipad, dictaphone, cassettes, tape loops, op 1, field kit. Drawn and performed on a 7 x 4 m canvas by Christoph Lammers, using different objects, ink, charcoal, brushes and his bare hands. Recorded live at Städtische Galerie Rosenheim. Additional sounds recorded and edited at home. For this release, Lammers and Usenbenz extracted a small part of the huge artwork and carefully screenprinted every single copy by hand to the B-Side of the record. The A-Side contains the 21 miunte performance in full. The Title is handstamped on the label. https://klanggold.bandcamp.com/album/drawing-in-sound-2 "Our regular readers may remember Ulm’s Andreas Usenbenz from Bells Breath, a lovely time-stretched recording that was also an installation. Last spring he teamed up with Munich illustrator Christoph Lammers for Drawing in Sound, a live performance during which the artists improvised with sound and brush. Now this performance has found its way to vinyl, each copy screenprinted with a segment of the original art. The video causes one to reflect on the process of inspiration, especially one’s reaction to sound. Music can aid the focus of artists in other disciplines, from the obvious (yet often ignored) dancer in a nightclub to a choreographer to an author to a sculptor. Lammers is literally drawing in sound. Yet the feedback loop also contains Usenbenz, who reacts to Lammers’ art with additional nuances of his own: not just guitar, but tape and “rustling hay.” On the surface, one might ask, “Is this what the sound looks like?” or “Is this what the painting sounds like?” But the release offers only one interpretation; play it at home, and one may paint a different picture. The title of the exhibition opening was “Wiese (Meadow),” which seems apt given the nature of the collaboration. Something grew out of (a seeming) nothing: curves on a white canvas, notes in a quiet room. But the value of the vinyl goes far beyond mere souvenir or objet d’art. Usenbenz’ piece is gentle and intimate, a perfect score for a new morning or a new year, a snow-covered landscape or the genesis of an artistic project. Flowing water implies life; birds the promise of spring; rustling hay the seeds of inspiration. Soft pings twinkle like stars on a clear night. As a single piece, the music allows listeners to sink into the undulations, providing deep rest or deep focus depending on the setting. When the notes eventually dissipate, the recording ends, but the creative fire has been lit." [Richard Allen/A Closer Picture]	2018	€25.00
LAN CAO / GREGOR SIEDL / WOLFGANG SEIDEL	Optimistic Modernism	CD+BOOKlet	Optimistic Modernism Die Musik auf dieser CD ist ein „best of“ aus 3 1/2 Stunden Aufnahmen dreier Sessions, für die man sich 2017 traf. Die Architektur des Ortes der Sessions gab die Inspiration für den Namen des Projektes: Optimisitc Modernism. Die Treffen fanden im Untergeschoss eines der markanten Ecktürme der ehemaligen Rotaprint-Fabrik in Berlin Wedding statt (heute beherbergt das Gelände unter dem Namen ExRotaprint soziale Projekte, Firmen und Künstler). Rotaprint produzierte bis in die 80er Jahre Druckmaschinen. Diese Maschinen waren vor allem für Schulen, Universitäten und Verwaltungen gedacht. Das photografische System der Druckplattenherstellung machte es einfach, jede beliebige Vorlage zu reproduzieren – ob Schreibmaschinenseite, Zeichnung, Collage oder ein vorhandenes Buch. Auf diesen Maschinen entstanden ein Großteil der Flugblätter, Untergundzeitungen oder Raubdrucke der 60er. Ohne diese Technologie wären die 60er anders verlaufen. Das Selbstbewusstsein der Firma drückte sich in den von den Architekten Kirsten und Nather entworfenen Anbauten aus. Deren Entwürfe wollten mehr sein, als mehr vom Rotstift als von einer Utopie getriebenen Kisten, in denen man Arbeiter stapelte, tagsüber in der Fabrik, abends in standardisierten Wohnhäusern. Im von Iannis Xenakis für die Brüsseler Weltausstellung 1958 entworfenen Philips-Pavillion fanden Architektur und Musik in einer optimistischen Moderne zusammen. Die Bauten des British Brutalism (nach dem Baumaterial béton brut) evozieren mit ihren mutigen, auf Widerspruch und Überraschung ausgelegten Formen als Soundtrack Musique Concrete, Elektronische Musik, Stockhausen oder Soundtracks von Science Fiction Filmen wie Forbidden Planet. Musik auf der Suche nach unendlichen Weiten jederzeit bereit, den Kurs zu ändern, wenn eine interessante Sehens/Hörenswürdigkeit auf dem Radar auftaucht. So ist auch die Musik auf dieser CD. Die Frage, was als nächstes kommt, folgt nicht einem vorgegebenen Plan folgt oder einer einer angeblichen Alternativlosigkeit. Brüche und unerwartete Kursänderungen werden bewusst in Kauf genommen. Optimistic Modernism The music on this CD is a “best of” from 3.5 hours of recordings from three sessions which were held in 2017. The architecture of the location of the sessions provided the inspiration for the name of the project: Optimistic Modernism. The sessions took place in the basement of one of the prominent corner towers of the former Rotaprint factory in Berlin Wedding. Today, the name of the site is ExRotaprint and it provides space for social projects, commercial enterprises, artists and musicians. The Rotaprint company manufactured printing presses there until the end of the 80s. These presses were designed mainly for schools, universities, and administrative bodies. The photographic system of printing plate manufacturing made it easy to reproduce any original – whether typewritten page, drawing, collage, or existing book. A majority of the lea ets, underground papers, or pirated editions of the sixties came from these presses. Without this technology, the 60s would have taken a different course. The company’s self-awareness found expression in the extensions designed by the architect Klaus Kirsten. These designs aspired to be more than mere boxes in which to stack workers: by day in the factory, in the evenings in standardised homes, shaped by red pen rather than utopian idea. In the Philips Pavilion for the Expo 1958 in Brussels designed by Iannis Xenakis, architecture and music converge in an optimistic modernity. The buildings of British Brutalism (after the building material béton brut) with their bold shapes, esigned for antagonism and surprise, evoke a soundtrack of musique concréte, electronic music, Stockhausen, or soundtracks of science fiction movies such as Forbidden Planet. This was music on the quest for the nal frontier, always ready to change course whenever an interesting sight or sound emerges on the radar. The same is true for the music on this CD. What comes next does not follow a predetermined plan or some seeming lack of alternatives. Ruptures and unexpected changes of course are taken into account deliberately. LAN CAO caothanhlan.com a versatile musician, trained as a classical contemporary music pianist in Cologne and in Brussels Conservatories, but nds her main interest in sound. She has been expe- rimenting with analogue synthesizer, ampli ed objects, prepared marxophone/zither, low-tech electronics, etc. As a guest pianist of Kammerensemble Neue Musik Berlin (KNM Ensemble), she has performed at Ultraschall Festival, Musica Electronica Nova Wroclaw, Galeriewanderung Berlin, etc. She has also earned a wide range of ensemble experience in festivals namely Klangspuren with Ensemble Modern Frankfurt, Darmstadt Festival for new music, Festival Ircam Paris@Manifest, Impuls Festival, International Kamermuziek Festival Schiermonnikoog, etc. Also active as an experimental sound artist, composer in many different projects, notably the electro-acoustic Duo (Parallel Asteroid and Zicla projects) – in collaboration with Gregor Siedl, she has been tou GREGOR SIEDL gregorsiedl.com was born in Vienna, Austria. He is deeply engaged in the eld of experimen- tal and improvised music. Through his explorations of extended techniques, preparations on the saxophone, clarinet and the use of extra-musical inst- ruments such as game-calls and water, he has developed a unique voice in music. Gregor won rst prizes as best improviser at international music competitions XL-Jazz and Gent Jazz festival. He has been involved in experimental music, music-theater, jazz, multi-disciplinary projects with performers, visual artists and arti cial intelligence. He is a band-member of Junk Orbit, Parallel Asteroid, DOKO, Auralisation Ensemble, Osmosis Project. He has performed all over Europe, Asia, Australia and South-America at international music festivals and concert venues, such as: Festival Ankunft Neue Musik Berlin, Festival Internacional de Musica Experimental Sao Paulo, Krieg Singen HdKW Berlin, Follow the sound Festival Antwerpen, Storm!-Festival, LeXGiornate Milan, Ftarri Tokyo, Hot Club Lisboa, Estonian Academy of music, Improvised Music Co. Dublin, etc. ring and giving workshops for contemporary music and improvisation in Europe, Japan, Brasil, China, Taiwan, Argentina, Uruguay, Chile, Finland, Australia and Vietnam. Other groups in which she is founding member, amongst others, are Swiss Army Wife, Junk Orbit, Cao-Keller-Siedl, etc. WOLFGANG SEIDEL born in what once was West-Berlin. Started playing drums in the mid 60s in one of the numerous bands that sprang up in Germany inspired by the sound of British bands. In the rebellious years at the end of the 60s became one of the regular visitors at the Zodiak Free Arts Lab founded by Beuys’s student and Kluster (later Cluster) member Conrad Schnitzler. The long during friendship and collaboration with Conrad Schnitzler introduced him into more experimental musical elds and improvisation and electronic sounds. Beside that Seidel had been one of the founding members of one of Germany’s most important rock groups: Ton Steine Scherben. To keep his artistic freedom he earned his living for 20 years in a print shop before he became graphics designer for TV stations. Today he is active both as a drummer and synthesist in Berlin’s thriving improvised music scene in various projects with Alfred 23 Harth, Fast 277 (duo with Eliad Wagner), Populäre Mechanik, Ulf Mengersen, Philippe Lemoine etc. Auftritte bei Colour Out Of Space, Brighton UK, CTM - Festival for Adventurous Music and Art Berlin, Todays Art The Hague NL, Le Lieu Unique Nantes F, Atelier Nord ANX Oslo N, Basic Electriciy Berlin, Superbooth Berlin. Clarinet, Saxophone, Effects [Game-Calls], Electronics – Gregor Siedl Layout – Pegman Graphics Marxophone, Sampler, Synthesizer – Lan Cao* Percussion, Guitar [Table Top Guitar], Synthesizer, Mixed By, Edited By, Artwork [Artwork Ideas], Liner Notes [Texts] – Wolfgang Seidel "Recently released via the German imprint Moloko+ is "Optimistic Modernism", an acoustic homage to the interchangeable modernist design approach of the 60s, interestingly oftentimes aimed at female consumers, built and condensed from 3.5 hours of material created by Lan Cao, Gregor Seidl and Wolfgang Seidel over the course of three recording sessions at the former Rotaprint factory in Berlin Wedding in 2017. Coming with an extensive 48 pages booklet and a special cardboard slip cover the album itself caters a menu of eight tracks in total, opening with "Jettatura", a tense, 4:44 minutes spanning excursion into retrofuturistic electroacoustics with score'esque qualities whereas "East Anglia" explores full on minimalism garnished with echoes of echoes of Post-PostRock and swampy modular bleeps. The follow up "Tarantism" explores more of a nervous, scraping, percussive, abstract and somewhat FreeJazz- / Tribal-infused vibe, "Robin Hood Gardens (Steal The City From The Rich)" brings more score'esque, brooding, feverish and this time slightly Asian vibes to the table, fusing eruptive outbursts and calm, yet tense and spine-tingling background tones whereas "Zugzwang" is steadily working towards a climaxing, polyrhythmic crescendo. Using "The Sixth Sense" we see the three musicians continue to follow the polyrhythmic path whilst adding some intense piano chords and strummed string instruments to the well threatening melange, their homage to the "Barbican Estate" is as stripped down as it is thrilling, providing a Western / Morricone'esque tension for the concrete architectural desert and the final cut that is "Ghibli Garden" brings on a trundling, slightly chaotic take on highly experimental Indietronics for a confusing, yet well interesting closing." [Nitestilez.de]	2019	€15.00
LASWELL, BILL & PETE NAMLOOK	Outland	6 x CD BOX	The 'Outland' album series was a collaborative endeavour by the visionary US bassist-producer Bill Laswell and the late German musician Peter Namlook that pushed the boundaries of dark ambient and electronic music. Spanning five albums released over a thirteen year period from 1994, this new boxset serves as a testament to the creative synergy between the two masterminds. At the time the duo joined forces, the New York-based Laswell was already a famous producer with a massive client list that included cutting-edge rock, pop, funk, jazz and electronic artists, but he had also founded the Axiom label in 1989 and been responsible for groundbreaking work in genres that included ambient, dub and world music. Namlook was recognised as a pioneering figure in the ambient techno scene, having founded the label FAX +49-69/450464 in his native Frankfurt in 1992. 'Outland' became a fusion of their individual musical sensibilities that resulted in a unique set of releases. At the heart of the series is an exploration of sound as a vehicle for emotion and contemplation, with Laswell's signature basslines and experimental soundscapes interweaving seamlessly with Namlook's ethereal textures and intricate sonic layering. Each album is characterised by a sense of expansiveness, taking listeners on a voyage through rarely charted sonic dimensions. All have the ability to evoke a wide range of emotions and have their own distinctive sonic palette, ranging from ambient tranquility to cosmic intensity. 'Outland' has endured as an influential touchstone, its impact felt not only in its captivating soundscapes but also in its invitation to engage in deep introspection and cosmic contemplation. With each album, the duo beckoned listeners to transcend the mundane and embark on a sonic voyage into the extraordinary, where sound becomes a conduit for spiritual and artistic expression. The lavish matte-finish boxset opens to the 5 "Outland" albums in separate matte sleeves, with all-new designs, and all audio completely remastered. This box also contains a new addition to the OUTLAND series - an album of dense, bass space drone by Bill Laswell, entitled "Blackland". The boxset also contains an exclusive card with an essay about the project written by BIll Laswell, July 2023. ........................................ Their collaboration actually began after Namlook discovered that several samples from early Fax releases had been utilised for Laswell's own projects, prompting an initial forthright exchange that quickly turned into a deep mutual admiration. "We started to send music back and forth, Frankfurt to Brooklyn and back again," explains Laswell. "There were so many recordings and different collaborations that several of them turned into a series. In addition to 'Outland', there was 'Psychonavigation', 'The Dark Side Of The Moog' and more." For 'Outland', he recalls that "I had done an Asian tour with my friend Akira Sakata where I managed to record a lot of traditional music in Mongolia, which is heavy drone singing and the ultimate ambient. When I was in Europe, I brought these recordings to Pete and we worked on them in Frankfurt. That was the start of 'Outland', which then continued for another four releases." He also reveals that Namlook told him about the very start of his career. "He was playing guitar and working in a bank. Every day, on his way home with his guitar, he would pass a river and stop and play with the river flowing. I think that's where his ambient obsession began. I recorded a piece with Bernie Worrell entitled 'By A River (for Peter)', which is the first track of the box set compilation 'Die Welt ist Klang: A Tribute to Pete Namlook', which was released in 2013, a year after his death." CD1: Produced by Peter Kuhlmann. Written by Bill Laswell and Pete Namlook. Mongolian voices and instruments by Nicky Skopelitis & Oz Fritz. CD2: Produced by Peter Kuhlmann. Written by Bill Laswell and Pete Namlook. Ethnic sounds recorded in West Africa by Oz Fritz. Recorded at Klanglabor, Frankfurt. CD3: Produced by Peter Kuhlmann. Written by Bill Laswell and Pete Namlook. Recorded at Klanglabor, Frankfurt & Traben-Trarbach. CD4: Produced by Peter Kuhlmann. Written by Bill Laswell and Pete Namlook. Recorded at Klanglabor, Frankfurt & Traben-Trarbach. CD5: Produced by Peter Kuhlmann. Written by Bill Laswell and Pete Namlook. Recorded at Orange Music, West Orange,NJ, and Klanglabor Hödeshof. CD6: Bill Laswell: Bass, effects. Engineering: James Dellatacoma. Recorded at Orange Music, West Orange,NJ (Bassmatter, BMI). https://coldspring.bandcamp.com/album/outland "Quite a catch and a very pleasantly surprising one. I would not have imagined that Cold Spring Records, known for all their darkness, would dip into ambient electronic pioneer Pete Namlook's (1960-2012) work, particularly his piece with Bill Laswell. The latter is a bass player and producer with a massive body of work, mainly outside Vital Weekly (Herbie Hancock's 'Rockit' is a VW HQ favourite, sometimes), both on bass and production duties. Pete Namlook played electronic ambient music, usually without too many rhythms, but he wasn't too shy to put a full set on. Namlook's catalogue is massive, as at one point, he released a CD every month on his FAX +49-69/450464 label. He had a line of collaborators with whom he worked a lot (Klaus Schulze, Tetsu Inoue, and Richie Hawtin, for instance). With Bill Laswell he recorded five parts of 'Outland', which are now re-issued with a bonus disc of a new work, 'Blackland', by Laswell. There was more work by the two, 'Psychonavigation', which also spanned various CDs (and maybe something to come in the future?), which is one I really enjoyed. I could call myself a Namlook fan, yet I also know I heard maybe 50% of his work. Back in the day, I couldn't afford to buy everything I wanted, and Namlook's output was, as said, massive. From the original 'Outland' albums, I only heard two. It is interesting to play these six works as they provide an excellent picture of the diversity of ambient house music, at least in the approach of Namlook and Laswell. There isn't one kind of ambient house. The word 'house', as in 'house music', is a loose term anyway in this respect, indicating dance music. Ambient House never relies too much on strict dance beats but uses more complex rhythms, such as on 'Outland Two - African Virus', which is more exotic, wilder and sometimes indeed more African. 'Outland Three' (no subtitle) has rhythms that are a bit more straightforward and minimal, but it's not something for the dance floor. On 'Outland Four', the beats are more dub-like in some of the pieces (as with all of these pieces, it moves through various ideas and textures per album), another interest of many ambient house musicians. On the other side of the musical spectrum, we find music devoid of rhythm, spacious synthesizers, minimalist drones, and perhaps something ambient in the truest sense. As with many Namlook releases, there is a certain directness about the music, indicating that the music is one long session, a live-in-studio approach, with mixing and editing afterwards. There is not much extra information in this release explaining methods. The whole live-in-studio approach might be something that is only in my mind. Each album is a trip, and so is the whole five-plus hours of this. I played this for the first time in one row on a lazy Sunday, sipping tea after a long night. Ambient music is the preferred waking-up music for me. Maybe with the idea that my living room is a sort of chill-out place today, as some of this music is clearly the intended soundtrack for such a place." [FdW/Vital Weekly]	2023	€47.50
LATER DAYS	InvalidObject Series (do)	mCD	Das irische FÄLLT-Label hat auf einen Schlag ein Kompendium zur neuen digitalen laptop / click / glitch / IDM – Musik herausgebracht ! Das sind 24 mCDs mit allerlei bekannten und unbekannte Vertretern dieses jungen Genres. Wir haben die meisten da, hier eine Übersicht ! Limitiert jeweils auf schamlose 250 Stck ! Preis pro mcD : € 9.50 Better priced now, last copies of this absolute compendium of IDM. € 9.50 “ The invalidObject Series was established in 2000 as a sublabel of Fällt to release a finite series of twenty four 3"CD/.mp3 works. Offering a unique perspective on a diverse range of musical output at the turn of the millennium, the Series features work by some of the most respected artists operating within the field of '.microsound' and has been described as "a remarkable document of a vibrant artistic community and a critical moment in the evolution of digital music" (Philip Sherburne), "a showcase for the extraordinary range of practical approaches within contemporary electronic music" (Matt Ffytche, The Wire) and, simply, "impressive" (Rob Young, Editor, The Wire). “ [label press release}	2000	€9.50
LEITMOTIV LIMBO	Spiritual Disturbance	CD	De la Catessen Records presents Spiritual Disturbance from Elijah Värttö's project Leitmotiv Limbo. Currently based in Port Adelaide, Australia, Leitmotiv Limbo has developed, slowly but surely, over the past few decades, through international travel and relocation, including five years in Estonia (2008-2012), where Värttö set up the Servataguse Muusika concert series. Spiritual Disturbance was recorded in 2020 and released privately as a small run of recycled cassettes -- this CD version is the first widely available Leitmotiv Limbo release since their 2018 split cassette with RNPno2 on Finnish label Hyster Tapes. Central to the Leitmotiv Limbo ethos are Värttö's self-made instruments, built from discarded, repurposed, and found objects, such as loose springs and other metallic implements. Affixed to wood sourced from a disused and dismantled piano frame, their deep resonance, both percussive and timbral, positions Värttö's approach within a trajectory of instrument builders/creators -- you can hear echoes of the music of artists like Z'ev, Hal Rammel, and Rod Cooper in the shattered textures and industrial drones of tracks like "Submersive", for example. There's also a tactility to the performances here, a haptic resonance, and a strange, viscous sensuality to the material. Värttö recorded Spiritual Disturbance in a church hall in Adelaide, on a four-track, using room mics and direct line input, and it's made up largely of one-take performances on Värttö's self-made instruments, with minimal intervention, at times, from analog filters and a drum synth. The combination of the evacuated tonalities of the instruments, plus the cavernous reverb of the recording space, gives Spiritual Disturbance a distinctly ritualistic sensibility; poetic and primitive, but eloquent in its exploration. It also brings to mind mysterious projects like Organum, Morphogenesis, Metgumbnerbone, perhaps even an acoustic Voice Crack, where conceptual rigor meets unpredictability via real-time improvisation. Spectral and haunted, Leitmotiv Limbo's Spiritual Disturbance is a compelling collection of oneiric expression, and an eloquent articulation of a unique, invented universe. Includes four-page booklet; edition of 300. https://leitmotivlimbo.bandcamp.com/album/spiritual-disturbance	2022	€15.00
	Superior State	LP	Superior State is the second Leitmotiv Limbo album released by Port Adelaide’s De la Catessen Records, after the 2022 CD Spiritual Disturbance. This time, Leitmotiv Limbo’s isolationist studies have been bumped to vinyl, which feels like the perfect format for these twelve miniatures. The project of Adelaide artist Elijah Värttö, Leitmotiv Limbo has, over the past few decades, tracked a history of quietly insistent experimentation, embracing several technologies – invented instruments; analogue filters; drum synth – to sketch desolate, cavernous structures, sometimes performed in reverberant spaces, such as church halls, which gifts the recordings a ritualistic air. For Superior State, Värttö is more intently focused on rhythms and pulses, resulting in a beautifully sculpted collection of poetic vignettes. You can hear some trace elements, here, of the minimalist techno-not-techno of artists like Pan Sonic, or Studio 1/Freiland, in their reductionist ethos. But also, in the insistence of Värttö’s attention to detail, and his careful focus on a delimited number of elements, the twelve pieces on Superior State recall the work of mysterious German outfits Werkbund and Mechthild Von Leutsch, or the solo explorations of artists like Asmus Tietchens, Achim Wollscheid and Goem. It's intensely evocative music, recalling all kinds of phenomena, both man-made and natural: electricity pulsing through wires; the humming of the central nervous system; the quiet hiss of deserted computer laboratories; the pulsations of plant life; the molecular vibration of atoms. Värttö has tapped into the poetry of the programmatic on Superior State, and he’s sharp in his grasp of the significant effect that the incremental shifting of a few simple parameters can have on the overarching structures he’s building here. Indeed, that poetry is echoed back in the beautiful liner notes by Adelaide artist Michael Hocking. Alive, flickering with incident, Superior State is energy transmitted, coursing through the collective’s veins. Music recorded in a room on Nile St, Port Adelaide across six evenings, of one week in January 2023. Instruments of analogue electronics were built, performed and recorded by Elijah Värttö directly to 4-track tape, with two room mics. The instruments form four quarters, as two hemispheres mirrored. Each hemisphere has a symmetry of structure, albeit comprised of differing materials. Detail of artwork: spray paint on metal by Elijah Värttö Mastered for vinyl by Giuseppe Ielasi Design by Sam Songailo ℗ Elijah Värttö 2023 © De la Catessen Records 2023 "While I recognized the Leitmotiv Limbo immediately, I was surprised that I had already reviewed four previous releases by Elijah Värttö's music project (Vital Weekly 951, 1152, 1219 and 1336). All of these were on cassette, but now it's time to do the next step and release an LP. The music is ready for it, I'd say. Värttö sounds like a Finnish name, but he's from Adelaide, just like the label here, who also re-issued the 'Spiritual Disturbance' cassette on CD. The press information talks about "invented instruments, analogue filters, drum synth" and influences of Pan Sonic, Studio 1 (Wolfgang Voigt rather than the dub label), Freiland, but also Werkbund, Asmus Tietchens, Achim Wollscheid and Goem. Some of these names I am very familiar with, and while I can't say these people don't influence him, I also believe that maybe, except for Werkbund and Tietchens, I don't hear these influences to that extent. Rhythm plays an undeniable part in the music here. Still, there is only some of that 'techno that isn't techno' of Pan Sonic or Goem here (more the latter than the first, in 'Parading Brutality', for instance), nor the conceptual edge of somebody such as Wollscheid. In these twelve pieces, I hear more of a nod towards mid-80s industrial music, where you can find albums by Tietchens of similar musical interests. Also, given the more loop-like approach, a group like Dome (in 'Relative Space', for instance). This LP is a giant leap forward compared to the previous cassette works. There was naivety in his older work, which was most enjoyable, but rightfully, it was time to move on. Leitmotiv Limbo now exercises more control, more composition, if you will. There is less of that 'roll the tape and see what happens' approach, but the music here is to the point. There is no endless wailing about, but each of the twelve compositions is just that. Not too industrial, never noisy, but with a studio-as-instrument approach, exploring uncharted territory on the sonic map. I can hardly wait for the next one." [Vital Weekly] https://leitmotivlimbo.bandcamp.com/album/superior-state	2023	€26.00
LIBEREZ	All tense now Lax	LP	"Hermetically sealed and reveling in tumult, All Tense Now Lax is the most significant and developed work yet forged by Liberez. Based in main orchestrator John Hannon's remote studio No Recordings in Rayleigh, England, Liberez have expanded their palette from previous outings on Alter to produce a perfectly engineered machine that consumes the beholder." [label info] www.nightschoolrecords.com "It has become increasingly rare, in recent years, to hear 'industrial' records that fully merit the name. Like most experimental musical terms, it is a descriptor that has become useful only in small doses: usually in reference to artists utilising mechanical and oppressive sonic textures. This usage, however, only conveys a part of what industrial music was originally about. The great early industrial bands manipulated sound in such a way that it retained the flawed feel of human direction whilst simultaneously building a shrine to the electronic. Listening to the finest Throbbing Gristle records, for example, one is overcome by an atmosphere that is almost entirely alien and discomforting precisely because of its human element; something that even the most applause-worthy of (largely digitally based) industrial artists of today are incapable of quite accomplishing. This, perhaps, is what makes a vaguely 'industrial' outfit like Liberez such an enticing proposition. A group that blends the electronic with the acoustic, and works on foundations provided more by improvisation than by the meticulous organisation of much contemporary experimentalism, Liberez have been stalwarts of the deepest depths of the murky UK underground for some years now, rightly eschewing genre terms in favour of constant reinvention and re-articulation of their musical aims. All Tense Now Lax, however, sees Liberez reach new heights (or lows, depending on the way you want to perceive music so undeniably gloomy) in their apparent quest to capture the beautiful in the most disjointedly unnervingly fashion possible. Liberez’s determination to manufacture contrast is impressive from the album’s opening seconds. Intro track ‘ Of Milk’ fades in with eerie piano and ends with concrete drone, fading into the slow building tumult of ‘_Захвална породица’, complete with some mid-period Skullflower guitar wailing and clanking percussion. This is a pattern that continues throughout, with sections of fragile sound collage – rendered particularly effective by the regular presence of moaning violin – being presented along spiralling channels of paranoid distortion. At its most overblown and overwrought All Tense Now Lax is less disturbing and more genuinely frightening. ‘How Much for Your Brother?’ is a gross exhortation of primal malevolence, retching through its four minutes with the subtlety of a sledgehammer and the abrasiveness of a sandpaper razor. At the other end of the scale, ‘Stop Your Breathing’, the following track, mutters and groans through disembodied fragments of noise, which eventually (and briefly) end up coalescing into a faintly beautiful climax. The combination of these two styles alongside one another is exhausting but powerful, like a stripped down Godspeed You! Black Emperor at most minimalistic and effective best. All Tense Now Lax, then, is brilliant precisely because of the way it flits disconcertingly between the two extremes presented in its title, between the constant and unrestrained tension of technological progress and the contrasting looseness of our day to day existence alongside it. The overall result is an enormously adept capturing of the conundrum of the 'industrial' in a post-industrial landscape." [Benjamin Bland / Drowned In Sound]	2015	€21.00
LICHT-UNG	Gieb Fahrt!	mCD-R	3" CDR, 1 TRACK, 1 VIDEOFILE, 12 MINUTES. LIMITED AND NUMBERED EDITION OF 150 COPIES. MINI DVD BOX WITH 2 INLAYS. licht-ung, a art (lyrics, pictures, etc.) and sound project from Germany. The name stands always for his very own art. Strange, peculiar, dadaistic. licht-ung have several releases on his own label, some are splits with artists like Government Alpha, Stilluppsteypa, Aube. There is also a 7" on Drone Records, that shows the lower side. This TOSOM release contains a 12 minute piece, in the best japanese Noise tradition. Very harsh, very intensive, very loud. The second track is a short video file for your PC. lichtlaterne. wenn der regen nebens cafe faellt. und jemand spaziert. einen brief schreibt, und geburtstag hat. endlich, finalmente, sind wir drin. wir koennen tanzen, klettern, sehen den fluß. seine schiffe. auch fuer sie scheint eine ampel. die post spart hilfe die ganze nacht lang auf. waere sie nicht gewesen, haette viel dort bleiben muessen, denn wir koennen nicht alles behalten. wir konnten nie alles loslassen. nur alles haben wir verloren. die maserung bleibt wie eine spur in der tuer. in einem anderen land. Du lebst." [label info] "... So Johannes is to contemporary noise what Da Vinci was to the renaissance? The 3inch has a strange short video of 6 seconds and a 12 or so minute harsh noise work which mixes harsh rumble with high pitched feedback. The noise piece is competent to the point of a total refinement of what harsh noise should be, and that's praise not criticism, it winds and weaves through a sonic landscape at times quixotically so much so that the piece IMO could have been longer - but it pays to leave your audience wanting more - which I do (though not sprouts!)." [Jliat / Vital Weekly] label: www.tosom.de	2007	€7.50
LICHT, ALAN & AKI ONDA	Everydays	CD	"Debut collaboration of New York artists and long-time duo partners ALAN LICHT & AKI ONDA, whose combined history connects artists straddling the pop and experimental worlds, including Fennesz, Loren Connors, Takemura Nobukazu, Lee Ranaldo, and Toriko Nujiko. In the past decade their montage-inspired solo work---Licht's permutational guitar and tape pieces on Rabbi Sky and A New York Minute, Onda's field recording recontextualizations on Bon Voyage! and Ancient & Modern---has co-existed with their experimental sound/visual projects Text of Light (Licht) and Cinemage (Onda). "Everydays" is five grandly formed soundscapes that mix Onda's poetic/textural cassette sounds and the rhythmic/lyrical pull of Licht's guitar. Morphing from recognizable structures to dissonant hammered chunks and rapid cut-ups, the album perfectly weaves their signature applications of sound diaries, minimalism, grainy fidelity, looping and free blues into a dynamic and ambitious statement." [label notes] www.family-vineyard.com	2008	€13.00
LIGHT OF SHIPWRECK	From the idle Cylinders	CD-R	Kraftvoller Guitar-Drone mit wummernder & stampfender Drum-machine und heftigen Gitarren-Loops, ekstatisch, geisterhaft, nicht von dieser Welt... erinnert an NADJA, klingt für unsere Ohren aber zum Teil auch wie eine Metal-Version von RAPOON ! LIGHT OF SHIPWRECK ist das Solo-Projekt von BEN FLEURY-STEINER, der auch hinter PARADIN und dem GEARS OF SAND-Label steckt, eine echte Überrraschung! "Light Of Shipwreck is a one-man band operated by Ben Fleury-Steiner, a Deleware-based drone artist and owner of the excellent Gears of Sand Recordings imprint, which has released discs from some of our favorite ambient/drone/drift artists including Encomiast, Cordell Klier, and Aidan Baker. It was actually through Aidan Baker that we found out about Ben's Light Of Shipwreck project; knowing that we're fanatics for "heavy ambient" sound, Light Of Shipwreck was recommended as something we should check out. At first expecting something more along the lines of the kind of floating ambient rumble that marks so much of my favorite Baker solo stuff, I was pleasantly surprised by how percussive the tracks I heard online from LOS were, the dense, ominous feedback drones and heavy rumbling ur-riffs floating freely over a mechanistic tribal-rhythm freakout. We ended up getting in touch with Ben from Light Of Shipwreck and it turned out that he had a nearly hour-long disc that he wanted to have released through our Crucial Bliss imprint, and here we are: a three-track full length of rich, crushing power-ambient, titled From The Idle Cylinders, a reference to the American Objectivist poet George Oppen whose work is a consistent influence on Light Of Shipwreck's imagery, with huge slabs of resonant sheet metal shimmering in an ocean of heavenly feedback and reverberating guitar drone, and surges of droning tribal Krautrock percussion floating along with distorted ambient doom powerchords and washed out vocal cord bliss, each track running upwards of 20 minutes in length. A totally breathtaking piece of music, like Steve Reich, Brian Eno, Can, and Earth swirled together into an austere, hypnotizing heavy-trance masterpiece. This limited edition CD-R of From The Idle Cylinders comes packaged in the signature Crucial Bliss foldover card sleeve with the disc itself attached to the sleeve on a plastic hub and featuring striking photo design, in a print run of 200 copies." [label info] "Haunting super rhythmic industrial soundscapes laced with a propulsive locomotive shuffle of programmed percussion, keening high end and hissing whirs of smeared almost jazziness, looped and cyclical, some sort of disembodied krautrock/spacerock like a more mechanical Necks jamming in a thick cloud of Birchville Cat Motel fug. A groaning creaking percussive framework beneath a sky full of shimmering black clouds. All three tracks begin all abstract and drifty, the first "I Rode And Am Riding On An Ocean Of Violent Lights", quickly explodes into a fog of jagged edges and swirling squalls of chaotic percussion and overlapping drones, while the second, "I Watched And Am Watching A Cold Dead Sun Rise Then Explode" coalesces into a serious chunk of glorious Ur-kraut, a simple stripped down rhythm spread out over a massive expanse of low end whir and phantom drone drift, gorgeous and mesmerizing, with a dark dreamy melody, both ominous and lovely, think a super mellow druggy Circle, or a slightly more noise rock Necks... The final track begins with subtle Eastern sounding percussion, before giving way to some Fear Falls Burning massive glacial guitar drone, eventually splintering into glimmering harmonics, the rest of the twenty minute track, a tangle of the two, shuffling skittering rhythms wrapped around slow burning solar flare guitar. So good. As with all Crucial Bliss releases, the packaging is gorgeous, a dvd sized fold over thick cardstock sleeve, full color inside and out, the cd attached to a plastic hub affixed to the sleeve... and LIMITED TO ONLY 200 COPIES!!" [{Aquarius ] www.crucialblast.net	2007	€10.00
LILES, ANDREW	In my father's house are many mansions	CD	Grossartiges meist surrealistisch-dunkles Material auf dieser ANDREW LILES – Remix Compilation von vielen namhaften v.a. britischen Projekten! "Various artists remixing, re-ordering, adding and subtracting the recordings of Andrew Liles. Paul Bradley Journey Remix Colin Potter All Doors Open Aaron Moore Auto Manipulator - Trumpet Mix Jonathan Coleclough Aviophilia Ruse The Ether Reel Rendered Band of Pain Apathy in the UK (Blast# 3) Bass Communion Something to do with Hans Bellmer in a Pub at Last Orders using 15th Century Rural Magic Aranos Auto Manipulator - Gong Mix Darren Tate Lite Irr. App (Ext) Ape Greasing Resonant Curvature Around Antiseptic Orifice The Hafler Trio Song of the Ergophile Unsong Te Whare Ao Aitu (Waits In Double Bed) vidnaObmana 8 O'Clock Nurse With Wound Soliloquy for Lile(s)th Freiband Reis" [label credits] “...In fact so busy, that his latest CD is a remix project. On this poetically entitled disc (Liles loves his titles) we find a host of well-known Liles-friends such as Paul Bradley, Colin Potter, Jonathan Coleclough, Bass Communion, Aranos, Darren Tate, Irr. App., Hafler Trio, Nurse With Wound, Vidna Obmana and Freiband paying aural tribute to the man. Each of these artists re-work one of Liles tunes with often-impressive results. At times the mixes remain close to the original gentle collages (like the mixes by Bradley or the very recognizable piano theme Potter uses) or more like soundscapes such as the tracks by Coleclough, Tate, Nurse With Wound (a Soliloquy no less) and Bass Communion. Ruse and The Hafler Trio deliver trademark, more abstract versions and Freiband submits, compared to the other tracks, the noisiest piece of them all. It is interesting to note that as much as these tracks are made by individual artists with individual styles, this CD still sounds as a coherent project, which makes for enjoyable listening and is probably why this is released under the name Andrew Liles. Another intriguing and highly enjoyable addition to the already impressive Liles-catalogue.” [FK / Vital Weekly] Address: http://www.adverse-effect.com	2005	€14.00
LILES, ANDREW & JEAN-HERVE PERON	Fini!	CD	"Introducing the debut collaborative release from sometime Nurse With Wound/Current 93 member, Andrew Liles and Jean Hervé Peron of Faust. Neither of these artists needs any introduction and all expectations are overtaken with this incredible album. Here is something that sounds like both a Krautrock album and also like nothing else you can imagine. Its twists and turns keep surprising and thrilling you several listens on from the first. The words "classic" and "masterpiece" would not be out of place here. Both Faust and NWW are touring all over the world in 2008, and the profile for both of these legendary acts has never been higher. This release is packaged in a gloss-laminated digipack, with beautiful artwork by Liles." [label info] "When mayhem artists like Nurse With Wound 's Andrew Liles and Faust 's Jean-Hervé Peron conspire, the result might be described as acousmaniac. Fini! is an arsenal of fun that comes on like a vibra-gun blast to the pineal gland. The glorious studio tomfuckery of "The Drummer is on Valium," Fini!'s opening cut, let's us know in no uncertain terms that Krautrock hasn't stopped mutating after all these decades, nor has it been successfully recycled by the archons of mainstream airwaves. That's one thing that makes Fini! delightful. It comes on like an artifact from an alien culture excavated by reanimated Dadaists from five feet of moon-dust. Touch not the obelisk lest centuries of Germanic gnosis light up your central nervous system like Meister Eckhart's pinball machine. This wanton little orgone-grinder is enhanced with blasts of blago-bung plus multi-lingual spoken word. "Congo Bongo La La La," coming in shy of two minutes, stands out with brilliant eccentricity, teasing us with a slow build up of La La La before the Congo Bongo briefly shakes the bachelor tree house until it disgorges all the monkeys. While most cuts are incredibly brief, leaving the listener a little hungry for more, much more, and seeming to be the disc's connective tissue, "Shake Your Hooves" rises up like a delirious five-minute ethno-pagan evocation of Pan. A sweet release like this demands its own context, maybe a dainty tea-party of genteel aristocrats at which you, stripped naked with cabalistic signs emblazoned on your shaved body, spin Fini! at maximum ear-bleeding intensity before setting fire to the curtains and riding off on a white ass. You can claim that you did this at the behest of "It's Too Loud," which sounds like it was recorded on a Messerschmitt. If this impromptu circus doesn't result in the New Aeon of Amon Düül IV, all is lost. Out of this world!" [Steve Aydt / Weirdomusic.com]	2008	€14.50
LILES, ANDREW AND KENJI SIRATORI	Black Paper	CD	Erster Teil der wahnwitzigen VORTEX VAULT-Serie, 12 CDs aus ANDREW LILES Archiv, aber auch neues Material wird präsentiert. Das ganze wiederum in der Beta-Lactam BLACK SERIES, die mit einheitlichen überformatigen schwarze Edel-Cover zu beglücken vermag. BLACK PAPER heisst also der erste Teil, wo LILES mit dem selbsternannten japanischen CYBER-Poeten KENJI SIRATORI kollab(or)iert, der wie's scheint zur Zeit mit jedem in der Experimental-Szene ansässigen Werktätigen eine Zusammenarbeit anstrebt. So hört man hier SIRATORIS Cyber-Gedichte (auf japanisch; auf englisch übersetzt wären übrigens genauso unverständlich - denn er scheint ein spätes Kind der Cut-Up Technik zu sein). Als wäre das nicht schon genug irrlichternder & funkelnder Wahnwitz, so zeigt sich auch LILES in Bestform, wenn er mit Synthklavier und Xylophon und durchdringenden Analog-Noises (=?) bewaffnet die letzten möglicherweise noch vorhandenen Reste gutgläubiger Erwartungshaltung des Hörers vernichtet, hier in irgendeiner Weise 'verstehbare" Musik hören zu dürfen. Genau darin aber, geneigter DRone Records-Kunde, liegt vielleicht die Genialität dieses Albums. Wir können das aber gerade nicht entscheiden und vertagen die Diskussion auf unbestimmte Zeit... "Black Series 1 - Ed. of 300 numbered and signed copies. 'The Vortex Vault' will be in part a collection of unreleased, unearthed and dusted down material from the vast Andrew Liles archive of unused studio material. 'The Vortex Vault' will also include brand new recordings, conceptual and collaborative pieces, special guests, kraut rock psyche outs, space rock, the odd and unlikely, Norwegian, the obscure and arcane, aircraft, cicadas, the absurd and nonsensical. 'The Vortex Vault' is a platform to release radically different and eclectic material. Expect the unexpected, the minimalist and excessive, the demure and deranged." [label info] "andrew liles, from the uk, is an experimental sound artist with a pretty diverse output. i'm only familiar with a few of his releases, but they ranged from sound art, to ambient soundscapes, drone, experimental electronics and the occasional foray into noisier directions. some good points of reference, as far as his ambient and drone works are concerned, would be andrew chalk and vidna obmana, two artists he's also happened to work with. kenji siratori is a japanese cyberpunk author who's had a hell of an outpouring of non-paper releases last year. this is mostly because he pimped himself out by "writing to as many industrial, ambient, ebm and goth bands he could find, including "reviews" of them in his idiosyncratic style, and asking to collaborate. (this) scattergun approach proved successful, despite his reviews of non-sequitirs and non-sensical cyberspeak being interchangeable" [discogs.com]. after all was said and done he'd put out fifteen total albums, including three that are on net labels and are availiable to download for free at smell the stench and dystonia. the bulk of them have been in the form of collaborations, most notably with gx jupitter-larsen (the haters), torturing nurse and henrik nordvargr björkk (hh9, folkstorm, mz.412, et al.). i would be surprised if that last one is anything short of amazing. i...must...stop...buying...things... black paper opens up with barometer ii, a beautifully haunting piano piece by liles, which siratori soon begins speaking over. his words are all spoken in japanese. emphasis on spoken. this could be poetry or god knows what, but it sounds great. he's got this gruff sounding voice that immediately made me think of splinter's voice from the teenage mutant ninja turtles movies. i love it. there's some great layering of his vocals near the end, too. vtr is one of the least musical (most experimental) cuts on here. there's a whole mess of noises, electronic bleeps and textures from andrew, and kenji's vocals are affected, in parts, and panned all over. it easily has the most overall stuff going on at once, but it works well, due partly to how andrew progresses it. if that was the album's exercise in maximalism (i think i just made that word up), the title piece is its most rhythmic. half of this piece features with some very catchy xylophone (i'm guessing) playing, the rest focuses on kenji's vocals, manipulated the most here. one of my favorite parts is where its just him with no music, and there's also his sped up vocals shooting back and forth between the speakers. jaguar is black paper's absolute highlight. over liles' sparse backdrop there's a vocal track in the left speaker, a different one in the right, a repetitious one in the center and then another, different track in the center. it's completely hypnotic, wonderful and memorable. then when that piano comes in towards the end, jaguar achieves total brilliance. it all strikes me as being rather noir, while maintaining an underlying sense of beauty. the next two tracks mainly feature andrew doing some nice, slightly stark, experimental electronic work. the closer, barometer iii is vocal less and revises the pianos from barometer ii, but adds some terrific electronic noises over it. there's actually two separate collaborations by kenji siratori with the title black paper, the other is with tardive dyskinesia. that may cause a bit of confusion, but this one is only available from andrew liles' website or beta-lactam ring. it's part of andrew's 12 cd set, the vortex vault, limited to only 300 copies. once those 300 are gone, that's it. no reissues. i think if you get one from andrew it will be signed by him. i'd also recommend his collaboration with gx. while it's not as memorable as this one here, there's some mighty fine noise by him, and who doesn't like mighty fine noise? after hearing all of this from kenji i've definitely become interested in his literary work...at the very least it should be interesting. smooth sailing review " [unknown writer, taken from the Beta-Lactam website] www.blrrecords.com	2006	€16.00
LILLY JOEL	What lies in the Sea	CD	" 'What Lies In The Sea' is the fruit of a ten year collaboration between singer Lynn Cassiers and keyboardist Jozef Dumoulin, and is the first release for their duo Lilly Joel. Both musicians are free spirits and true, much-lauded innovators in their respective fields. Belgian singer Lynn Cassiers is as much a singer as she can be called a sound sculptor, using her voice, microphone, and electronics to create soundscapes. Pianist Jozef Dumoulin (Belgium) redefined the Fender Rhodes keyboard through a scope that is at the same time fully contemporary, eclectic and highly personal. This recording marks a milestone on their path as a band and crystalizes a moment in a universe that was carefully shaped and daringly explored. The music is straightforward, fresh and original - the focus never being the attempt to be part of some distinct genre, but only to be honest towards one's own place in a ever changing world. There are reminiscences of experimental music, jazz, rock, electro, pop, traditional music and contemporary classical music, which is totally normal considered who's at work here. Anyhow, all those influences are fully digested and serve as countless small bricks that are used to make a new big image, that stands on it own and can be watched as such. Lynn Cassiers Quoted to be 'one of the most remarkable voices of our improvisation scene' (enola), Lynn Cassiers' universe is one that covers a wide diversity of styles. Lynn is recognizable by her songlike approach in contexts that can range from noise over ambient to free jazz. She's part of impro-rock band Tape Cuts Tape on the sides of ex-deus guitarist Rudy Trouvé and improv-jazz drummer Eric Thielemans, and also performs with her solo project 'The Bird, the Fis and the Ball'. Besides writing music for theatre and her various collaborations with great artists and ensembles such as Marshall Allen, Octurn and The Brussels Jazz Orchestra, she is a steady member in different bands on the actual music scene of Western Europe. Jozef Dumoulin Known for his open and luminous approach to the piano and to music in general, always anchored in tradition without being burdened by it. Besides the Fender Rhodes solo, his own projects include The Red Hill Orchestra (a trio with Ellery Eskelin and Dan Weiss) and a duo with Benoît Delbecq. Highly-demanded as a sideman, Jozef Dumoulin has recorded and toured with the finest of musicians in the domain of jazz, improvised music, rock and traditional music. He currently lives in Paris." [label info] www.subrosa.net	2015	€13.00
LIMITED LIABILITY SOUNDS	Glassworks	CD-R	Adam Mankowski has been active working as Limited Liability Sounds since 2006, creating unexpected musical works with a various of artists and labels. On Glassworks Mankowski connects himself to one of the tools of our daily lives: the Glass, extracting five pieces of experimental ear candy. https://tidesofcluster.bandcamp.com/album/glassworks	2019	€10.00
LINDE, OKSANA	Travesias	LP	Venezuelan composer Oksana Linde presents Travesías, her second album released by Buh Records, featuring pieces created between 1986 and 1994 in her private studio in San Antonio de Los Altos, Venezuela. These compositions belong to the same creative period as the works included in her acclaimed debut album, Aquatic and Other Worlds (Buh, 2022). The pieces “Mundos Flotantes,” “Horizontes Lejanos,” and “Arrecifes en el espacio” were expressly composed for the concert Travesía Acuastral, presented by Linde in February 1991 at the Casa Rómulo Gallegos during the 3er Encuentro de la Nueva Música Electrónica. This event, produced by Maite Galán in collaboration with the group Musikautomatika, was a milestone in the development of an experimental electronic music scene in Venezuela, which at the time was one of the most vibrant in Latin America. The name Travesía Acuastral reflects the surreal imagination that inspired much of the artist’s work. These ideas, centered on extraordinary ways of perceiving reality, also connected with alternative meditation practices such as Reiki, which attracted Linde’s attention from the mid-1980s to the early 1990s. This period followed her departure from her career as a chemical researcher due to severe health issues. During this time, she composed a series of pieces for meditation sessions, four of which are included in this compilation: “Luciérnagas en los manglares,” “Estrellas I” and “II,” and “Kerepakupai vena.” The latter references two words from the Pemón Indigenous community in southeastern Venezuela, meaning Salto Ángel [Angel Falls]—the name of the world’s tallest waterfall, located in the state of Bolívar. Born in 1948 in Caracas to Ukrainian immigrant parents, Oksana Linde’s career is an example of resilience and innovation. After leaving her work as a chemist due to health problems, Linde turned to music, experimenting with synthesizers to create an evocative sound universe. She produced a substantial amount of recordings during the 1980s, many of which remained unpublished until the release of Aquatic and Other Worlds. Since then, Linde’s work has been compared to artists such as Isao Tomita and Suzanne Ciani. Travesías further establishes her as an essential figure in electronic music and continues to unveil one of the most fascinating musical archives of Latin American electronic music. This compilation is released by Buh Records in a limited edition of 500 copies. It was compiled and annotated by Luis Alvarado, mastered by Alberto Cendra at Garden Lab Audio, with cover photography by Elisa Ochoa Linde, and artwork and design by Gonzalo de Montreuil. This album was made possible thanks to the Ibermúsicas fund. buhrecords.bandcamp.com/album/traves-as	2025	€32.00
LINDWALL, HAMPUS	Brace for impact	LP	Hampus Lindwall is a musical artist active in many fields ranging from contemporary music to experimental and electronic sound / music. He has released many albums, as a soloist and in collaboration and is the titular organist in Saint-Esprit, Paris, since 2005. :::::: As 2024 came to a close, in New York and Paris chords rang out from thirty-two-foot pipes for the first time in half a decade. Following twin fires in 2019, the grand organs at the cathedrals of St John the Divine and Notre-Dame, amongst the largest instruments in their respective countries, had finally been restored. The news was justly celebrated in the international press, but the incidents were far from isolated. In England, the city of Norwich hailed the return of its cathedral’s five manual organ in 2023 and just two years earlier York Minster heralded a “once-in-a-century” refurbishment of its own 5,000-plus pipe instrument. Meanwhile, further organ restoration projects are ongoing at churches in Liverpool, Bradford, Bristol, Winchester, and Washington DC. Significant as they are to their respective communities, they’re also emblematic of a wider rebirth for one of humanity’s oldest musical instruments. The organ is having a moment. Over the last few years, albums by the likes of Kali Malone, Ellen Arkbro, Anna von Hausswolff, FUJI\|\|\|\|\|\|\|\|\|\|\|TA, and Áine O’Dwyer, as well as projects in the visual arts by Sollmann Sprenger, Cory Arcangel, Massimo Bartolini and many other talented artists, have given a new prominence to the old ecclesiastical stalwart. The pipe organ bears historical traces which stretch back to the third century BC. But that doesn't mean it can't speak to a contemporary moment haunted by algorithms and networked culture. Hampus Lindwall’s Brace for Impact is an album of organ music for today. Things nearly turned out very differently for Lindwall. Were it not for a simple twist of fate, the guy now occupying the organist’s chair at the church of Saint-Esprit in Paris, occasional collaborator with Phill Niblock, Leif Elggren and Susana Santos Silva among many others, might well have wound up in the world of pop music. In the 1990s, as the Stockholm club scene started taking off, Lindwall found himself moving in the same circles as the electronic music artists connected to the city’s legendary Cheiron studios. The aesthetics of 90s rave remains an important part of his musical DNA to this day. Born in the Swedish capital in 1976, Lindwall learned his chops copying the solos on Steve Vai records. It was only later, towards the end of his teens, that he even started playing keyboard instruments. When seeking to enter Stockholm’s prestigious Royal College of Music, Lindwall tendered two applications: to the jazz department, as a guitarist, and to the classical music department, as an organist. He was sure he would be accepted with the guitar. In the end, he was rejected from the jazz department for spurious reasons, inadvertently setting Lindwall on a path to becoming a classical organist. Brace for Impact sees Lindwall returning to the scene of his adolescent obsessions. It’s an album of five recent contemporary classical compositions, all performed by the composer himself on the seventy-eight stop organ at St. Antonius church in Düsseldorf. It’s also a highly visceral forty-five minutes of music with undeniable elemental power. The title track proposes a historical counterfactual equal and opposite to its author’s own youthful fortuity: what if fate had somehow barred Iannis Xenakis from becoming the pioneering architect and composer remembered by history and instead led him to join a metal band? Inspired by the searing glissando that opens the Greek musician’s seminal (1953–4) work Metastaseis, the piece pairs a series of rip-roaring slides on a highly saturated and distorted electric guitar (performed by collaborator and SUNN O))) founding member, Stephen O’Malley) with the halting attempt of Lindwall’s instrument to follow it, in spite of the discrete nature of the individual keys on its manuals. It’s an electrifying piece of music, slapping the listener round the face straight out of the gate at the start of the record. But it’s also a deft study on the uneasy relation between analogue curves and digital steps. Brace for Impact might just be the first album of post-internet organ music. Like a performance by Dutch artists JODI, it is a record weaned on networked processes and algorithmic thinking, a suite of tracks which build their own systems then push them to the point of collapse. Lindwall is not a programmer, but he will wield whatever technology is ready to hand much as Chopin made use of the richer, fuller sound of an Erard piano. From the software subtly weirding the interior textures of ‘Swerve’ and ‘Piping’ to the juddering, kernel panic of ‘AFK’ and ‘À bruit secret’, these are works of music unthinkable without the ubiquitous experience of life lived online. Imparting that hypermodern aesthetic sensibility through the austere sound of a baroque organ only heightens the anachronistic sense of temporal disjuncture characteristic of days spent rabbit-holing through ever-multiplying stacks of browser windows. The vernacular of Web 2.0 is here re-transcribed in the ornate script of a medieval illuminated manuscript. Artist and blogger Brad Troemel (aka The Jogging) once compared the practices of his own cohort of digital natives to the non-retinal strategies of Marcel Duchamp a century earlier. “Duchamp’s readymade came at a time of transition when consumers were first buying mass-produced goods,” he notes. “During Duchamp’s era, the word ‘readymade’ referred to the objects in one’s home that were not handmade. And for the generation of artists coming of age today, it is the high-volume, fast-paced endeavour of social media’s attention economy that mimics the digital economy of stock-trading, a market increasingly dominated by computer-automated algorithmic trades.” Lindwall, equally, regards the elements comprising the material for his music like so many pre-given readymades ripe to be appropriated. ‘À bruit secret’ feeds the whole fifty-six note run of the organ keyboard into a random number generator before being variously manipulated like a Schoenbergian tone row built from the standardised limits of the instrument. The use of commercial software even spurred Lindwall to name the track after Duchamp’s (1916) sculpture with an unknown rattling object inside. Starting the album with the jagged crunch of an E major guitar chord followed by an interval leap of a minor sixth up to C felt, to Lindwall, like a sort of citation – whether from Chopin or Yngwie Mamlsteen (possibly both). As a conservatoire student, Lindwall felt he had to leave his passion for guitar behind, as if there were no room for those ideas within the formality of the music establishment. Only later did he come to see it as a resource he could draw on, a deep well of subcultural knowledge to be mined, just as Bartók once excavated the folk songs of his native Hungary. Lindwall cites Jeff Koons, who once claimed he only found his voice as an artist when he started looking to the kitschy objects sold in his father’s antique shop while he was growing up. In this sense, at least, Brace for Impact may represent the organist’s oeuvre at its most arch and conceptual – but it also finds him at his most personal. This is an album borne of obsessions, with an obsessive’s attention to the details of sound and structure. It is also an absolute blast: a record of ferocious immediacy with one foot in the distant past and eyes firmly fixed upon the future. -Robert Barry, February 2025 credits released June 20, 2025 All music composed, arranged and performed on the organ by Hampus Lindwall Recorded by Christoph W. Hilser in St. Antonius Kirche, Düsseldorf, August 2024 Electric guitar by Stephen O’Malley, recorded by Hampus Lindwall at Pôle Nord Studio, Paris, June 2022 Additional guitars by Hampus Lindwall Mixed & mastered by François-Xavier Delaby, at La Fugitive, Paris October 2024 Vinyl cut by Andreas Kauffelt at Schnittstelle, Berlin February 2024 Portrait photo by Nils Boldt-Christmas // Text by Robert Barry Thanks to Markus Hinz & Kathrin Jentjens, Stadtdechant Frank Heidkamp of St. Antonius, Julia Stoschek and everyone at the JSF, Cory Arcangel, EVOL, Rolande Falcinelli, Francesco Filidei, Gamut Inc., JODI (Joan Heemskerk & Dirk Paesmans), Thomas Lacôte, Mauro Lanza, Meshuggah, Jesper Nordin https://ideologicorgan.bandcamp.com/album/brace-for-impact	2025	€25.50
LLOYD, DALE	Organisms (for Rolf Julius and John Hudak)	CD	"Organisms, created between 2004 and 2005, is a unique release for the artist in that it brings to the fore some of the many ambiguous elements and processes he has employed in his work over the years. Organisms is a collection of seemingly organic, micro-environments created from transmuted field recordings of everyday human activity and computer generated electronic sounds. So, contrary to what might seem otherwise, no animal sounds were used in the making of this work. From December 1st through the 4th, 2005, Organisms was presented as part of Susan Robb's Aqua Art Sound Broadcast: Hidden iPod Transmission installation which took place at the Aqua Hotel in Miami, Florida. Only recently - many years after Organisms was finished - was it decided that the CD release would partially serve to pay respect to sound artists Rolf Julius and John Hudak, in recognition of their micro-environment work that pre-dates this one. Listening to Organisms while the CD player is set to 'random shuffle' and or 'repeat' modes is highly recommended. This release is limited to 100 copies but is not a CDR! Due to a recent manufacturing revolution that allows for smaller CD editions to be made, and/OAR has been going this route for a certain percent of it's scheduled releases since 2011." [label info] www.and-oar.org	2012	€14.00
LOPEZ, FRANCISCO	Anima Ardens	CD	"New organic soundtrack creation by Francisco López. In constant nudity, which highlights the diversity of their bodies and origins, eleven men, eleven dancers throw themselves, body and soul, into this Anima Ardens or 'Burning Breath', surrounded by the organic sound environments of Francisco López Trance rituals or in shamanic trance, taking us out of ourselves, to the source of our emotions." www.subrosa.net "ABOUT THE CHOREOGRAPHER Based in Brussels, Compagnie Thor was founded in 1990 by the choreographer Thierry Smits. He quickly gained international acclaim in the world of contemporary dance. Over the years, the company has produced more than twenty dance productions. Gathering excellent performing artists from around the world, the company has established its reputation touring throughout Belgium and abroad. Thierry Smits’ work explores, often in an eclectic manner, the bonds between mystic and erotic, the ambiguity between the sacred and corporealness, and questions the metaphysical problems of the individual's state of mind and emotion. In his performances, oscillating between pure dance and dramatization, technical rigor and his gestural inventiveness are always present. In addition to his work focused on complex subjects and linked to an element ‘outside’ dance, Thierry Smits concentrates on dance itself – referring to nothing other than itself, giving priority to a study of form, choreographic composition, and the search for movement. Thierry Smits’ work received several prices: in 1995 when he received the SACD-Belgium prize. In 1998, his creation Corps(e) received the Belgium Océ prize for the performing arts of the French speaking community. In 2008 he is awarded the 'Prix de la critique 2007' (the critics' Prize) for V.-Nightmares,for the best dance performance of season 2007-08." [Dance-Tech Net]	2016	€13.00
	Untitled (2017)	CD	‘untitled#354’ created from original environmental sound matter recorded worldwide between 1995 and 2016. This piece was commissioned by Sónar Festival for their 2018 25th Anniversary project ‘Sónar Calling GJ273b’ (www.sonarcalling.com/en), in which they invited a few artists to create short audio pieces for outer space transmission. Original liner notes: The outer space transmission of a 10-second sound piece (digital audio file) to planet ‘GJ 273 b’ of Luyten’s Star (12.5 light years from Earth) required dramatic levels of data compression: mono 8kHz 8-bit. Changes in resolution such as these, however, are not the only possible form of compression. The classic analog technique of pitch shifting by speeding up playback is, in a literal way, also a form of (relatively) reversible temporal compression. Using this idea, I proceeded by: (1) creating a sound piece with 10x 1-minute sections from original environmental recordings I did in wilderness locations around the world [see timeline notes below]; (2) speeding up by pitch-shifting enough octaves to have those 10 minutes time-compressed into 10 seconds; (3) finally applying the required resolution compression for the transmission digital file. Interestingly, the resulting audio from this process distictively resembles signals from satellites and some celestial bodies, as received and heard from Earth. If any intelligent beings in exoplanet ‘GJ 273 b’ can receive, decode, make sense of, and reverse data compression of the audio digital file (by means of any equivalents of reconstruction algorithms or analytic inversion formulas in their culture), I am pretty sure they will easily figure out its time-compression reversibility. If they do –and assuming they have the techno-anatomical/cognitive equivalents of D/A converters, amps, speakers, ears, and brains– they will be able to have a sonic glimpse of Earth’s ecosystems and some of their non-human creatures (as of the turn of the 21st century; or 12.5 Earth-years into their past). This way, they will be able to make a more informed decision as to how to proceed. ‘untitled#354’ Timeline: 00:00 Costa Rica – Rainforest (Mesoamerican) 01:00 Peru – Rainforest (Amazonian) 02:00 Argentina (Patagonia) – Desert 03:00 Spain/Morocco (Chafarinas Islands) – Ocean 04:00 South Africa – Savanna 05:00 Nepal (Himalayas) – High mountain 06:00 Myanmar – Swamp 07:00 Malaysia (Borneo) – Rainforest (Southeast Asian) 08:00 Japan – Park 09:00 New Zealand – Forest ‘untitled#357’ created from original environmental sound matter recorded at Mmabolela Reserve (South Africa) during the Austral summer of 2017. credits released March 8, 2019 Created in 2017 at ‘mobile messor’ (Den Haag, Milano, Zurich, Cagliari, Copenhagen, Mmabolela) and ‘Dune Studio’ (Loosduinen). (c) francisco lópez 2017 – www.franciscolopez.net (p) AufAbwegen 2019 – www.aufabwegen.de Thanks to Barbara Ellison, Sergi Caballero, Enric Les Palau, Jorge Simonet and Pablo Blanco. https://aufabwegen.bandcamp.com/album/untitled-2017	2019	€13.00
	Untitled # 284	CD	“Behind every image, something has disappeared. And that is the source of its fascination. Behind virtual reality in all its forms [...] the real has disappeared. And that is what fascinates everyone. According to the official version, we worship the real and the reality principle, but — and this is the source of the current suspense — is it, in fact, the real we worship, or its disappearance?” [Jean Baudrillard, “Why hasn’t everything already disappeared?” Translated by Chris Turner, Seagull Books 2009] “untitled #284” was created in 2011 by extensive evolutionary transformation of original environmental recordings made in Lisbon during the year of 1992. These sources were recovered for a commission of the Teatro Municipal Maria Matos, where the composition was premiered on 16 July 2011. Francisco López is internationally recognized as one of the major figures of the sound art and experimental music scene. Over the past 40 years he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. Destroying boundaries between industrial sounds and wilderness sound environments, shifting with passion from the limits of perception to the most dreadful abyss of sonic power, proposing a blind, profound and transcendental listening, freed from the imperatives of knowledge and open to sensory and spiritual expansion. He has realized hundreds of concerts, projects with field recordings, workshops and sound installations in 70 countries of the six continents. His extensive catalog of sound pieces (with live and studio collaborations with over 150 international artists) has been released by more than 350 record labels worldwide, and he has been awarded four times with honorary mentions at the competition of Ars Electronica Festival. https://cronica.bandcamp.com/album/untitled-284	2012	€12.00
	1987	CD	Francisco López is internationally recognized as one of the major figures of the sound art and experimental music scene. For almost forty years he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. Destroying boundaries between industrial sounds and wilderness sound environments, shifting with passion from the limits of perception to the most dreadful abyss of sonic power, proposing a blind, profound and transcendental listening, freed from the imperatives of knowledge and open to sensory and spiritual expansion. He has realized hundreds of concerts, projects with environmental recordings, workshops and sound installations in over seventy countries of the six continents. His extensive catalog of sound pieces (with live and studio collaborations with hundreds of international artists) has been released by nearly 400 record labels / publishers worldwide. He has been awarded four times with honorary mentions at the competition of Ars Electronica Festival and is the recipient of the Qwartz Award 2010 for best sound anthology. https://universaalkunst.bandcamp.com/album/1987	2023	€13.00
LOPEZ, FRANCISCO / MICHAEL GENDREAU	Untitled # 185 / Drowning	LP	Split-LP des ex-CRAWLING WITH TARTS Mitglieds MICHAEL GENDREAU mit dem spanischen Puristen FRANCISCO LOPEZ - Vinyl-Kratzer & Rauschen von Auslaufrillen uralter Platten, aber auch die Geräusche der Mechanik & Motoren von antiken Plattenspielern dienten als Klangquelle für diese Bearbeitungen, ein Meer von low-fi Knirschen, Rascheln & Geknister, von multiplen 'white Noise'-Flächen und rhythmisch-repetitiven Mustern, so ungewöhnlich & wie überraschend im Verlauf... "Francisco Lopez is perhaps best known for his dynamic studio and live performances that sway between crushing silence and dynamic, shifting volume swells. Over the course of 25 years, Lopez has developed and honed a refined audio lexicon. Michael Gendreau entered the experimental sound community in the early 1980s with his project Crawling With Tarts. As a solo artist, Gendreau caught everyone¹s attention with the 2002 release of his CD 55 pas de la ligne, composed of recordings based on old turntables and one-of-a-kind LPs. For this LP, Gendreau, a trained acoustician, used extremely refined microphones--designed for acoustic and vibrational research--to record sounds such as turntable motor hum, belts, and run out grooves on records more than 70 years old. His side is an incredible journey through a forest of alternately prickly and soothing sounds. Lopez used similar source material for his side, creating a refined oceanic wall of sound constructed from crackle, hum, and scratches. This LP is in a numbered edition of 500 copies and signed by both artists." [label website info] "Francisco Lopez has previously collaged vinyl crackle and hiss with aplomb on his untitled 92, and Michael Gendreau has worked with similar material on his 55 pas de la ligne au no. 3. both return to the materiality of vinyl run out grooves and the internal mechanics of the turntable as sources for this exceptional split release, with each artist applying their own conceptual and aesthetic sensibilities to the sounds. Lopez amplifies and overlays tactile sounds of hissing vinyl into an industrial din whose crescendo abruptly cuts to a wheeze of spiralling surface noise. Where lopez concentrates on the output of his turntable, gendreau focuses on the mechanical object itself, deftly recording the belts, motors and cranks of antique turntables, and using sensitive microphones to explore the ghostly musical pssages that creep between the rumble of wooden resonance and crackle." [Jim Haynes, the Wire (November 2006)] "....His piece, 'Untitled #184' is audible throughout, and is a densely layered carpet of sound all sorts of sounds coming from vinyl. It hisses, pops and cracks in all sorts of ways, but never in an overtly rhythmic manner. It seems to me that Lopez created all of this by making many layers of sounds and removing any possibility of repetition. The piece by Gendreau uses similar sounds, but here musical elements leak through, or perhaps are created by the various possibilities of playing the records with motors, swift speed change and such like. Whereas Lopez creates a mass of sound, Gendreau presents an audio collage. Two possibilities of working with material like this. Two great examples of those possibilities. Richly textured and no doubt will go down for the very adventurous DJs." [FdW / Vital Weekly]	2006	€8.00
LOPEZ, FRANCISCO & XABIER ERKIZIA	Elektra Bidasoa	CD	"A collaborative project between two seasoned sound artists dedicated to a profound listening of sonic phenomena. Created with original recordings from power plants along the Bidasoa river in the Basque Country, Erkizia and Lopez have built vivid straighforward and transformed sound environments from a myriad hums, rattles, crackles, and drones from the wide variety of machinery and industrial electrical facilities inside the power plants. A macro and microscopic journey into a detailed and crisp virtual sound world from the generation of electricity." [label info] http://fernsrecordings.free.fr	2011	€13.00
LOPEZ, FRANCISCO WITH VALENTINA LACMANOVIC	With/In	CD	"Francisco López is internationally recognized as one of the major figures of the sound art and experimental music scene. For more than thirty years he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. Destroying boundaries between industrial sounds and wilderness sound environments, shifting with passion from the limits of perception to the most dreadful abyss of sonic power, proposing a blind, profound and transcendental listening, freed from the imperatives of knowledge and open to sensory and spiritual expansion. He has realized hundreds of concerts, projects with field recordings, workshops and sound installations in over sixty countries of the five continents. His extensive catalog of sound pieces (with live and studio collaborations with over 150 international artists) has been released by more than 300 record labels worldwide. He has been awarded four times with honorary mentions at the competition of Ars Electronica Festival and is the recipient of the Qwartz Award 2010 for best sound anthology. Since 1999 Valentina Lacmanović has researched dances from different cultures through their ritual, folk, classic, and contemporary aspects. From 2001 onwards, her work has been focused on the creation of dance-theater and multimedia performances where Eastern and Western worlds meet. She has worked intensively on creating performances inspired by dances of trance and collaborates with artists from various disciplines. Profound research into dances of trance and ritual versus performing spaces since 2003 gave new direction to her work as an art director and performer. Her investigations into whirling dance led to insights into its origins and practice extending beyond Sufi meditation that supply an inexhaustible source of artistic inspiration and contemporary creativity, ultimately resulting in the project Shedervish, which marked an important change in her artistic development. “With/In” features one long track created by Francisco López with original sound matter recorded from body, clothes and immediate surrounding space during ritual whirling by Valentina Lacmanović. As subtle as the almost invisible image that appears on the back cover, this work translate the dancer’s breath and movements into music. One of the most interesting concepts in López later works and surely one of the best entries in his ever-growing discography." [label info] www.silentes.net "It's been recently slow (?) - it seems - with releases by Francisco Lopez. Here he has new work which the cover notes 'created with original sound matter recorded from body, clothes and immediate surrounding space during ritual whirling by Valentina Lacmanovic'. She is dancer, who studied in Croatia, France, Spain, Turkey, India and The Netherlands where she now lives. "Her main focus is a contemporary view of dances of trance, and research on convergences and divergences between contemporary western and oriental performing arts, in collaboration with musicians, video-artists, film-makers, dancers, and experts in fields of science, including physics, anthropology, ethnology, and psychoanalysis." The ritual aspect is important. I assume the music from Lopez here is both a musical registration of what she does - a field recording of dancing - as well as maybe a soundtrack to one of her dances? Either way. The immediate surrounding aspect is because she moves around, obviously, which makes we hear lots of aspects of her dancing. Her feet on the floor, her dress moving about or a lengthy section using her voice, breathing heavily. Lopez creates lots of loops out of this, smaller and longer and quite usually plays a lot of those at the same time. He filters them radically, occasionally, and sometimes a few drop in or out of the mix, so that quite a vibrant mix remains. The effect of swirling remains present throughout and throughout there is always 'something to hear', but that's recently with most of the Lopez CDs. It moves from the quite low end range to the very high end range and everything in between. A fine work by Lopez, and maybe the most innovative element here is the choice of sound input." [FdW/Vital Weekly]	2013	€13.00
LOS ANGELES FREE MUSIC SOCIETY (L.A.F.M.S.)	35 S. Raymond Avenue	LP	"One afternoon in 1975, friend and fellow music traveler, Harold Schroeder, showed up at Poo-Bath Record Shop where Tom Recchion worked selling records and experimental music to people, forcing them to buy albums that he swore would change their lives. Harold asked if Tom wanted to share in a studio space close to the shop. After seeing it Tom Recchion immediately said “YES!”. They moved in and divided the space in half. On Tom’s half he made drawings, paintings, performances, video, sculptures, installations and music. Harold had his all set up for music with his newly acquired Steiner-Parker synth and guitars and things. At the beginning they played under the name “The Two Who Do Duets”. Soon the late night jam sessions that took place in the back of Poo-Bath moved over to the 4th floor of 35 South Raymond. It was pretty beat up and derelict, the way one imagines an artists’ studio to look. They could make all the noise they wanted. No one else was on their floor. The music heard on this LP has remained unheard since it was recorded and was created just before and right after the inaugural concert by the LAFMS groups Le Forte Four, Doo-Doettes and Ace & Duce. This concert took place in late January 1976. The sessions on this release feature members of the newly formed and expanded Doo-Doettes, which now included Dennis Duck, Juan Gomez, Harold Schroeder and Tom Recchion, as well as Ju Suk Reet Meate from Smegma and Ace, of Ace & Duce. 35 S Raymond eventually became a sort of LAFMS headquarter, with Chip Chapman of Le Forte Four, artist and future Extended Organ vocalist/guitarist Paul McCarthy, and soon to become singer for Nervous Gender, punk/folk artist Phranc, who along with many other artists and musicians, moved into the building. 35 S Raymond allowed for free expression and explorations of all sort. Some wild parties ensued, not to mention the luxury of endless hours of experimentation. Parking was free and so was the art and music. Ace found the tapes for side one (“Tom’s Studio”) in his archive and Ju Suk Reet Meate found the tapes for side two (“50 of Every American Are Machines”) and edited them both for this release. No overdubs or remixing was employed. Edition of 200 copies presented in luxury gatefold sleeve."	2018	€25.00
LS-TTL	el-es-tee-tee-el	CD	„the soundtrack for the untitled film of the mind“.. neues dark ambient–Projekt aus den Staaten, ruhigere Synth-Passagen wechseln mit rauheren, effektvoll gestalteten Tracks, zwischen geisterhafter und eher entspannt dunkler Atmosphäre.. [Drone Rec. info 2000] " LS-TTL is an experiment in sound for those who care for new and interesting musical methodology. Combining elements of computer science and studies into the realms of Tao and Zen, unique elements spring forth from this artists strange fusion of the Yin and the Yang. Almost 70 mins of Cold Harsh Ambience flowing with Power Electronics and Ritualistic feelings.” [press-release].	2000	€10.00
LUCIER, ALVIN	Almost New York	do-CD	"CD 1 - Twonings: Charles Curtis, cello; Joseph Kubera, piano; Almost New York: Robert Dick, flutes; Broken Line: Robert Dick, flute; Danny Tunick, vibraphone; Joseph Kubera, piano CD 2 - Coda Variations: Robin Hayward, tuba Pogus is extremely delighted to release this 2 CD set of recordings of works by Alvin Lucier. He is one of the key experimental artists of the 20th and 21st centuries, and is one of my favorite composers. A unique and individual artist: No one sounds quite like Alvin Lucier. Lucier writes about the genesis of the works on this release: "Since the early 1980's I have made a series of works for conventional musical instruments. Before that time I had been mainly occupied with the exploration of such phenomena as echoloca-tion, brain waves, room acoustics and the visual representation of sound. Often these works required special equipment-hand held pulse wave oscillators (Vespers), differential amplifiers (Music for Solo Performer), horseshoe magnets (Music on a Long Thin Wire). Then players began asking me for pieces. Now I needed to find a way of achieving the same poetry with acoustic instruments as I did with electronic means. "One of the things I discovered was that players could create rhythmic patterns by closely tuning with electronically generated pure waves or with each other, producing audible beats. Often, to get continuous motion, I have one or more voices sweep up or down at various speeds against fixed sustained pitches. As a wave approaches a sustained pitch the audible beating slows down to zero when it reaches unison, then speeds up again as the wave leaves the pitch. Almost New York employs slow sweep pure wave oscillators, Broken Line, flute glissandi. In Twonings two different tuning systems collide and in Coda Variations slight variations in pitch are heard chronologically." Recorded by Charles Curtis, Joseph Kubera, Robert Dick, Danny Tunick, and Robin Hayward - some of the leading new music performers of our era, these works are essential additions to the Alvin Lucier oeuvre, as well as satisfying anyone interested in great experimental music." [label info] www.pogus.com "Usually press texts say lots of things which is just the sort of thing record label use to exaggerate to drum up interest for their artist. But when Pogus writes about Alvin Lucier 'an unique and individual artist: no one sounds quite like Alvin Lucier', I can only agree. I sang praise for the work of Lucier before. His ongoing investigation into sound phenomena, with or without the use of instruments has been going on for more than forty years now, and brought him the status of a well-known composer. And when you are well-known, people will ask you for pieces, for them to perform. On 'Almost New York' we find four of those pieces, three on disc one and one on disc two. We have hear instruments we came across before in Lucier's work, such as piano, cello and flute. In 'Twonings' for cello (performed by Charles Curtis, who himself performed more work by Lucier, and released a 2CD by Antiopic - see Vital Weekly 498) and piano, we don't have any sweeping oscillations to be followed, but two closely tuned instruments, but with enough variation in pitches to clearly distinguish differences. In the title piece we have one player and five flutes, who follows two pure wave oscillators and moves between playing five flutes, not simultaneously of course. 'Broken Line' is, then again, more alike the first piece, but then staged for three instruments, flute, vibraphone and piano. The most radical work here is the piece 'Coda Variations', which takes up the entire second disc. Robin Hayward performs it on tuba. Based on eight notes from a Feldman piece, Lucier subjected them to seven sets of permutations of sixty-three notes each. No sine waves to play along, just the sound of single notes played at one time each, for almost fifty minutes. An intriguing work. Of these four pieces, there is only one which we could label as 'traditional Lucier' work, but the three others display probably just as well what Lucier, less the pure waves and all four are simply four more great pieces. Indeed: no one sounds quite like Alvin Lucier." [FdW/Vital Weekly]	2011	€18.50
LUSTMORD	[O T H E R]	CD	Das zehnte Studioalbum »Other« der Elektronik-/Industrial-Musikpioniere Lustmord wurde 2008 veröffentlicht und ist bis heute das einzige Lustmord-Album mit Gitarren, gespielt von Adam Jones (Tool), King Buzzo (The Melvins) und Aaron Turner (Isis). Das Album erschien ursprünglich auf dem unabhängigen Plattenlabel Hydra Head Records, das von Isis-Frontmann Aaron Turner gegründet wurde und früher Bands wie Converge, Pelican, Jesu, Sun O))) oder Boris beherbergte. Wie ein Journalist es damals formulierte, ist »Other« ein "düsteres Beispiel für einen vollendeten Künstler, der genau innerhalb der Parameter arbeitet, die er sich im Laufe der Jahre selbst gesetzt hat." Dieses Album zeigt Lustmord von seiner charakteristischsten Seite, und das eisige, unheilvolle Gitarrenspiel von Jones, Turner und Ozborne fügt sich perfekt in die tiefen Klanglandschaften ein, die diese beängstigende und doch inspirierende Reise ausmachen. Tatsächlich sind die Songs so kraftvoll, dass es Williams dazu bewegte, zwei Ambient-Remix-Versionen und eine Dub-Remix-EP zu erstellen, die die Klänge dieses Albums so weit wie möglich erforschen. Im Jahr 2022 arbeitet Lustmord für The Others (Lustmord Deconstructed) mit Künstlern wie Godflesh, Mono und Zola Jesus, um nur einige zu nennen, an Neuinterpretationen der »Other«-Songs zusammen, die ebenfalls jetzt erhältlich sind. Reissued in all its incarnations plus re-interpreted: Electronic/Industrial music pioneer LUSTMORDs tenth studio album [ O T H E R ], originally released in 2008 and to date the only LUSTMORD album with guitars on it, performed by Adam Jones (TOOL), King Buzzo (THE MELVINS) and Aaron Turner (ISIS). [ O T H E R ] originally came out on independent record label Hydra Head Records, founded by ISIS frontman Aaron Turner and former home of bands such as CONVERGE, PELICAN, JESU, SUN O))) or BORIS. As one journalist put it at the time, [ O T H E R ] is a "grim example of a consummate artist who is working frmly within the parameters that he has laid out for himself over the years." This album shows Lustmord at his most characteristic, and the icy, ominous guitar playing of Jones, Turner and Ozborne resonates perfectly within the deep soundscapes that make up this frightening yet inspiring journey. As a matter of fact, the material on [ O T H E R ] is so powerful that it moved Williams to create two ambient remix versions of it, and one dub remix EP exploring the sounds of this record to the greatest extend of his ability. In 2022, and also available now, LUSTMORD further collaborates with artist such as GODFLESH, MONO and ZOLA JESUS, to name but a few, for THE OTHERS (LUSTMORD DECONSTRUCTED) on re-interpretations on [ O T H E R ] tracks. LUSTMORD is the artistic moniker of Brian Williams. Born in North Wales, he started his musical career in 1980 and soon became a pioneer in the early industrial music scene in the UK. He was a former member of SPK during arguably their most crucial era, and went on to work with THROBBING GRISTLE members Chris & Cosey as well as appearing on early albums by CURRENT 93, NURSE WITH WOUND and others. After relocating to Los Angeles in 1993, Williams worked on dozens of motion picture soundtracks including The Crow, Underworld and Paul Schrader's First Reformed. Additionally he created several video game soundtracks, television scores and solo albums, as well as collaborating with artists as varied as THE MELVINS, CLOCK DVA, JARBOE, John Balance of COIL, Paul Haslinger (TANGERINE DREAM), PUSCIFER, Wes Borland and more, including Grammy Award-winners TOOL on their much acclaimed effort Fear Inoculum. To this day, Lustmord is actively recording and releasing music, his latest release being the collaborative album Alter with Karin Park of A°RABROT, and he is considered to be the founding father of the dark ambient music genre. [press release]	2022	€16.00
	[Beyond]	CD	Reissued! Electronic music pioneer LUSTMORD released an album titled [OTHER] in 2008, to date the only LUSTMORD album with guitars on it, performed by Adam Jones (TOOL), King Buzzo (MELVINS) and Aaron Turner (ISIS). The albums The Dark Places of the Earth and Beyond, both released in 2009, are extensions of the ideas explored in [OTHER] and are taken from the same recording sessions, but with the guitars removed and the essence of [OTHER] distilled and reduced.[OTHER] was a journey with friends, while The Dark Places of the Earth and Beyond take the concept and listener further, deeper, in-between and beyond. While is some ways [OTHER] is as close to a "rock" album as Lustmord will ever make, The Dark Places of the Earth and Beyond are pure Lustmord, a sound that many others imitate but can never equal. LUSTMORD is the artistic moniker of Brian Williams. Born in North Wales, he started his musical career in 1980 and soon became a pioneer in the early industrial music scene in the UK. He was a former member of SPK during arguably their most crucial era, and went on to work with THROBBING GRISTLE members Chris & Cosey as well as appearing on early albums by CURRENT 93, NURSE WITH WOUND and others. After relocating to Los Angeles in 1993, Williams worked on dozens of motion picture soundtracks including The Crow, Underworld and Paul Schrader's First Reformed. Additionally he created several video game soundtracks, television scores and solo albums, as well as collaborating with artists as varied as THE MELVINS, CLOCK DVA, JARBOE, John Balance of COIL, Paul Haslinger (TANGERINE DREAM), PUSCIFER, Wes Borland and more, including Grammy Award-winners TOOL on their much acclaimed effort Fear Inoculum. To this day, Lustmord is actively recording and releasing music, his latest release being the collaborative album Alter with Karin Park of A°RABROT, and he is considered to be the founding father of the dark ambient music genre. https://lustmord.bandcamp.com/album/beyond	2022	€15.00
	Beyond	do-LP	Reissued! Electronic music pioneer LUSTMORD released an album titled [OTHER] in 2008, to date the only LUSTMORD album with guitars on it, performed by Adam Jones (TOOL), King Buzzo (MELVINS) and Aaron Turner (ISIS). The albums The Dark Places of the Earth and Beyond, both released in 2009, are extensions of the ideas explored in [OTHER] and are taken from the same recording sessions, but with the guitars removed and the essence of [OTHER] distilled and reduced.[OTHER] was a journey with friends, while The Dark Places of the Earth and Beyond take the concept and listener further, deeper, in-between and beyond. While is some ways [OTHER] is as close to a "rock" album as Lustmord will ever make, The Dark Places of the Earth and Beyond are pure Lustmord, a sound that many others imitate but can never equal. LUSTMORD is the artistic moniker of Brian Williams. Born in North Wales, he started his musical career in 1980 and soon became a pioneer in the early industrial music scene in the UK. He was a former member of SPK during arguably their most crucial era, and went on to work with THROBBING GRISTLE members Chris & Cosey as well as appearing on early albums by CURRENT 93, NURSE WITH WOUND and others. After relocating to Los Angeles in 1993, Williams worked on dozens of motion picture soundtracks including The Crow, Underworld and Paul Schrader's First Reformed. Additionally he created several video game soundtracks, television scores and solo albums, as well as collaborating with artists as varied as THE MELVINS, CLOCK DVA, JARBOE, John Balance of COIL, Paul Haslinger (TANGERINE DREAM), PUSCIFER, Wes Borland and more, including Grammy Award-winners TOOL on their much acclaimed effort Fear Inoculum. To this day, Lustmord is actively recording and releasing music, his latest release being the collaborative album Alter with Karin Park of A°RABROT, and he is considered to be the founding father of the dark ambient music genre. https://lustmord.bandcamp.com/album/beyond	2022	€32.00
	[O T H E R]	do-LP	Reissued in all its incarnations plus re-interpreted: Electronic/Industrial music pioneer LUSTMORDs tenth studio album [ O T H E R ], originally released in 2008 and to date the only LUSTMORD album with guitars on it, performed by Adam Jones (TOOL), King Buzzo (THE MELVINS) and Aaron Turner (ISIS). [ O T H E R ] originally came out on independent record label Hydra Head Records, founded by ISIS frontman Aaron Turner and former home of bands such as CONVERGE, PELICAN, JESU, SUN O))) or BORIS. As one journalist put it at the time, [ O T H E R ] is a "grim example of a consummate artist who is working frmly within the parameters that he has laid out for himself over the years." This album shows Lustmord at his most characteristic, and the icy, ominous guitar playing of Jones, Turner and Ozborne resonates perfectly within the deep soundscapes that make up this frightening yet inspiring journey. As a matter of fact, the material on [ O T H E R ] is so powerful that it moved Williams to create two ambient remix versions of it, and one dub remix EP exploring the sounds of this record to the greatest extend of his ability. In 2022, and also available now, LUSTMORD further collaborates with artist such as GODFLESH, MONO and ZOLA JESUS, to name but a few, for THE OTHERS (LUSTMORD DECONSTRUCTED) on re-interpretations on [ O T H E R ] tracks. LUSTMORD is the artistic moniker of Brian Williams. Born in North Wales, he started his musical career in 1980 and soon became a pioneer in the early industrial music scene in the UK. He was a former member of SPK during arguably their most crucial era, and went on to work with THROBBING GRISTLE members Chris & Cosey as well as appearing on early albums by CURRENT 93, NURSE WITH WOUND and others. After relocating to Los Angeles in 1993, Williams worked on dozens of motion picture soundtracks including The Crow, Underworld and Paul Schrader's First Reformed. Additionally he created several video game soundtracks, television scores and solo albums, as well as collaborating with artists as varied as THE MELVINS, CLOCK DVA, JARBOE, John Balance of COIL, Paul Haslinger (TANGERINE DREAM), PUSCIFER, Wes Borland and more, including Grammy Award-winners TOOL on their much acclaimed effort Fear Inoculum. To this day, Lustmord is actively recording and releasing music, his latest release being the collaborative album Alter with Karin Park of A°RABROT, and he is considered to be the founding father of the dark ambient music genre. https://lustmord.bandcamp.com/album/o-t-h-e-r	2022	€32.00
	[Dark Places of the Earth]	CD	Reissued! Electronic music pioneer LUSTMORD released an album titled [OTHER] in 2008, to date the only LUSTMORD album with guitars on it, performed by Adam Jones (TOOL), King Buzzo (MELVINS) and Aaron Turner (ISIS). The albums The Dark Places of the Earth and Beyond, both released in 2009, areextensions of the ideas explored in [OTHER] and are taken from the same recording sessions, but with the guitars removed and the essence of [OTHER] distilled and reduced.[OTHER] was a journey with friends, whileThe Dark Places of the Earth and Beyond take the concept and listener further, deeper, in-between and beyond. While is some ways [OTHER] is as close to a "rock" album as Lustmord will ever make, The Dark Places of the Earth and Beyond are pure Lustmord, a sound that many others imitate but can never equal. LUSTMORD is the artistic moniker of Brian Williams. Born in North Wales, he started his musical career in 1980 and soon became a pioneer in the early industrial music scene in the UK. He was a former member of SPK during arguably their most crucial era, and went on to work with THROBBING GRISTLE members Chris & Cosey as well as appearing on early albums by CURRENT 93, NURSE WITH WOUND and others. After relocating to Los Angeles in 1993, Williams worked on dozens of motion picture soundtracks including The Crow, Underworld and Paul Schrader's First Reformed. Additionally he created several video game soundtracks, television scores and solo albums, as well as collaborating with artists as varied as THE MELVINS, CLOCK DVA, JARBOE, John Balance of COIL, Paul Haslinger (TANGERINE DREAM), PUSCIFER, Wes Borland and more, including Grammy Award-winners TOOL on their much acclaimed effort Fear Inoculum. To this day, Lustmord is actively recording and releasing music, his latest release being the collaborative album Alter with Karin Park of A°RABROT, and he is considered to be the founding father of the dark ambient music genre. https://lustmord.bandcamp.com/album/the-dark-places-of-the-earth	2022	€15.00
LUSTMORD & KARIN PARK	Alter (lim. col. vinyl)	do-LP	Limited coloured LPs housed in gatefold w/ special canvas cardboard stock and silver hot foil! Nordic pop diva KARIN PARK of ÂRABROT adds her ethereal, mournful voice and keys to the primordial sound of legendary electronic pioneer LUSTMORD for this sublime and poignant collaboration. ALTER is a ritual of our times. On the pair's frst collaborative work, the nine tracks that make up ALTER are every bit as heart-wrenching as they are terrifying, mining new sonic territory, it is a fascinating study of light and shade that delves deep into vast uncharted darkness. Their ability to create atmosphere on the album opener "Hiraeth" is second to none, perfectly assembling a harrowing backdrop for Park's lilting sound of longing. From there, Park's vocals add all of the emotional depth and power found in names like Kate Bush, Maynard J Keenan and Elizabeth Frasier, perfectly playing against Lustmord's waves of dark drama and creating a wholly unique record that recalls Dead Can Dance, Massive Attack and Portishead at their greatest. Considering Park's credentials, it might be surprising that a collaboration with Lustmord would ft so seamlessly. Utilizing a sound comprised of elements of industrial, synth pop and more, the celebrated Swedish solo artist and member of Norwegian rock band Ârabrot utilizes experimentation in her work, blazing trails and bringing to mind the work of her peers The Knife, Scott Walker, Robyn, Depeche Mode and Burial with her darkly-rich compositions. Multiple winner of Norway's Spellemann award, Park co-wrote the Norwegian entry for the 2013 Eurovision, fnishing fourth overall. But it is the sensibility of the sacred music of her youth that Park adds to ALTER, contributing a powerful vocal that guides the listener through the cavernous, mystical depth of their collaborative work. "Lustmord is the Gustave Doré of music", Karin Park ofers pensively. "Painting magical pictures with a sound that is so vast, it gives space for your own imagination." Brian Williams grew up in North Wales, beginning his musical career as Lustmord in 1980 and becoming a pivotal fgure and pioneer in the early industrial music scene in the UK. A former member of SPK during arguably their most crucial era, Williams went on to work with Throbbing Gristle members Chris & Cosey and appeared on early albums by Current 93 and Nurse With Wound amongst others. After relocating to Los Angeles in 1993, Williams worked on dozens of motion picture soundtracks including The Crow, Underworld and Paul Schrader's First Reformed, as well as on several video game, television scores and solo albums. Williams has also contributed to and collaborated with artists as varied as the Melvins, Clock DVA, Jarboe, John Balance of Coil, Clock DVA, Paul Haslinger (Tangerine Dream), Wes Borland (Limp Bizkit), Puscifer and more, including Grammy Award-winners Tool from their much acclaimed eforts 10,000 Days and Fear Inoculum. TRACKLISTING: 01. HIRAETH 02. THE VOID BETWEEN 03. PERIHELION 04. TWIN FLAMES 05. ENTWINED 06. KINDRED 07. SONG OF SOL 08. SELE	2021	€35.00
	Alter	CD	Nordic pop diva KARIN PARK of ÅRABROT adds her ethereal, mournful voice and keys to the primordial sound of legendary electronic pioneer LUSTMORD for this sublime and poignant collaboration. ALTER is a ritual of our times. On the pair’s frst collaborative work, the nine tracks that make up ALTER are every bit as heart-wrenching as they are terrifying, mining new sonic territory, it is a fascinating study of light and shade that delves deep into vast uncharted darkness. Their ability to create atmosphere on the album opener “Hiraeth” is second to none, perfectly assembling a harrowing backdrop for Park’s lilting sound of longing. From there, Park’s vocals add all of the emotional depth and power found in names like Kate Bush, Maynard J Keenan and Elizabeth Frasier, perfectly playing against Lustmord’s waves of dark drama and creating a wholly unique record that recalls Dead Can Dance, Massive Attack and Portishead at their greatest. Considering Park’s credentials, it might be surprising that a collaboration with Lustmord would ft so seamlessly. Utilizing a sound comprised of elements of industrial, synth pop and more, the celebrated Swedish solo artist and member of Norwegian rock band Årabrot utilizes experimentation in her work, blazing trails and bringing to mind the work of her peers The Knife, Scott Walker, Robyn, Depeche Mode and Burial with her darkly-rich compositions. Multiple winner of Norway’s Spellemann award, Park co-wrote the Norwegian entry for the 2013 Eurovision, fnishing fourth overall. But it is the sensibility of the sacred music of her youth that Park adds to ALTER, contributing a powerful vocal that guides the listener through the cavernous, mystical depth of their collaborative work. ”Lustmord is the Gustave Doré of music“, Karin Park ofers pensively. “Painting magical pictures with a sound that is so vast, it gives space for your own imagination.” Brian Williams grew up in North Wales, beginning his musical career as Lustmord in 1980 and becoming a pivotal fgure and pioneer in the early industrial music scene in the UK. A former member of SPK during arguably their most crucial era, Williams went on to work with Throbbing Gristle members Chris & Cosey and appeared on early albums by Current 93 and Nurse With Wound amongst others. After relocating to Los Angeles in 1993, Williams worked on dozens of motion picture soundtracks including The Crow, Underworld and Paul Schrader’s First Reformed, as well as on several video game, television scores and solo albums. Williams has also contributed to and collaborated with artists as varied as the Melvins, Clock DVA, Jarboe, John Balance of Coil, Clock DVA, Paul Haslinger (Tangerine Dream), Wes Borland (Limp Bizkit), Puscifer and more, including Grammy Award-winners Tool from their much acclaimed eforts 10,000 Days and Fear Inoculum.	2021	€14.00
	Alter (black vinyl)	do-LP	Limited coloured LPs housed in gatefold w/ special canvas cardboard stock and silver hot foil! Nordic pop diva KARIN PARK of ÂRABROT adds her ethereal, mournful voice and keys to the primordial sound of legendary electronic pioneer LUSTMORD for this sublime and poignant collaboration. ALTER is a ritual of our times. On the pair's frst collaborative work, the nine tracks that make up ALTER are every bit as heart-wrenching as they are terrifying, mining new sonic territory, it is a fascinating study of light and shade that delves deep into vast uncharted darkness. Their ability to create atmosphere on the album opener "Hiraeth" is second to none, perfectly assembling a harrowing backdrop for Park's lilting sound of longing. From there, Park's vocals add all of the emotional depth and power found in names like Kate Bush, Maynard J Keenan and Elizabeth Frasier, perfectly playing against Lustmord's waves of dark drama and creating a wholly unique record that recalls Dead Can Dance, Massive Attack and Portishead at their greatest. Considering Park's credentials, it might be surprising that a collaboration with Lustmord would ft so seamlessly. Utilizing a sound comprised of elements of industrial, synth pop and more, the celebrated Swedish solo artist and member of Norwegian rock band Ârabrot utilizes experimentation in her work, blazing trails and bringing to mind the work of her peers The Knife, Scott Walker, Robyn, Depeche Mode and Burial with her darkly-rich compositions. Multiple winner of Norway's Spellemann award, Park co-wrote the Norwegian entry for the 2013 Eurovision, fnishing fourth overall. But it is the sensibility of the sacred music of her youth that Park adds to ALTER, contributing a powerful vocal that guides the listener through the cavernous, mystical depth of their collaborative work. "Lustmord is the Gustave Doré of music", Karin Park ofers pensively. "Painting magical pictures with a sound that is so vast, it gives space for your own imagination." Brian Williams grew up in North Wales, beginning his musical career as Lustmord in 1980 and becoming a pivotal fgure and pioneer in the early industrial music scene in the UK. A former member of SPK during arguably their most crucial era, Williams went on to work with Throbbing Gristle members Chris & Cosey and appeared on early albums by Current 93 and Nurse With Wound amongst others. After relocating to Los Angeles in 1993, Williams worked on dozens of motion picture soundtracks including The Crow, Underworld and Paul Schrader's First Reformed, as well as on several video game, television scores and solo albums. Williams has also contributed to and collaborated with artists as varied as the Melvins, Clock DVA, Jarboe, John Balance of Coil, Clock DVA, Paul Haslinger (Tangerine Dream), Wes Borland (Limp Bizkit), Puscifer and more, including Grammy Award-winners Tool from their much acclaimed eforts 10,000 Days and Fear Inoculum. TRACKLISTING: 01. HIRAETH 02. THE VOID BETWEEN 03. PERIHELION 04. TWIN FLAMES 05. ENTWINED 06. KINDRED 07. SONG OF SOL 08. SELE	2021	€28.00
M.B. (MAURIZIO BIANCHI)	Bacillusmetrial Entopathogen	CD	M. B. : infectronics, muconoises, microbdrones, epithelpictures. Fragmented sound material decomposed at Emoptyc studio in Opera, during the year 6047 A. M. Suppurative thanks to Pharmakustik for his audiochemical interventions. Grubenwehr Freiburg has been amassing an impressive array of releases by highly regarded artists** from the noise/industrial scene in a rather short time. This latest addition to their roster, by Italian genre pioneer M.B. (aka Maurizio Bianchi), comes as a co-release with attenuation circuit. The 75-minute CD is accompanied by an oversized 7” artwork insert, which neatly showcases the fact that M.B. is not only a prolific sound artist, but also has something to offer in the visual domain. The three long tracks „Bacillus“, „Metrial“, and „Endopathogen“, as well as the sound sources „infectronics, muconoises, microbdrones“ point to the concerns with physical defects and decay present in M.B.'s works since its very early stages – the heritage of old school industrial's rather nihilistic outlook. Musically, M.B. makes the most of the underlying concept of inevitability: ambient loops overlap and circulate, pumping sound into the listener's ear like a heart pumps blood into organs, but gradually they slow down and die away. And from track to track the sound textures become harsher and more uncomfortable – not in a harsh noise kind of way, but in a more subliminal manner. Yet somehow the relentless pulsing – as long as it lasts – of the music is strangely comforting: as long as you can still hear these sounds, you are not dead yet. https://grubenwehrfreiburg.bandcamp.com/album/bacillusmetrial-entopathogen	2024	€13.00
M.B. / COALMINER + ALLIES	Antimateria	LP	Allies: GNAW THEIR TONGUES (Netherlands); RICHARD RAMIREZ (USA, founder of Black Leather Jesus); TORTURING NURSE (China) ZENABI (Philippines); GRODOCK (Germany); TOSHIJI MIKAWA (Japan, founder of Incapacitants); MANY BLESSINGS (USA; with Ethan Lee of Primitive Man); UNSIGNIFIED DEATH (Thailand) MAURIZIO BIANCHI is one of the founders of early industrial and noise music and should be familiar to the most. For ANTIMATERIA he contributed two brand new, merging pieces in which he approaches the theme through sounds of iluminescent and rushing keyboard clusters. COALMINER establishes several harshnoise tracks, for which they collaborated with the most diverse artists of the genre, from different countries. in the next few days, the various supporters will be presented here. Art by: Paul van Trigt, M.B. and Bruno Erber https://grubenwehrfreiburg.bandcamp.com/album/antimateria "Schon vor etlichen Jahren haben Kernphysiker verschiedene Untersuchungen zu den Klängen von Antimaterieteilchen durchgeführt. Die Ergebnisse sind mittlerweile vermutlich Legion und mir weitgehend unbekannt. Wenn im Zuge dessen allerdings so etwas wie der Sound auf der vor einigen Monaten erschienenen Compilation “Antimateria” möglich ist, dann wäre ich prinzipiell dafür. Auf der LP “Antimateria”, die wenn man genau sein will ein zwischen Kollaboration, Compilation und Split-Release angesideltes Objekt darstellt, arbeitet auf der ersten Seite das hierzulande hoffentlich bald wesentlich bekanntere philippinische Harsh Noise-Duo Coalminer mit einer Reihe an Acts zusammen, die trivial formuliert fast wie ein Who is Who internationaler Lärmkünste anmuten. Die Resultate offenbaren einen starken verbindenden Rahmen, unterscheiden sich aber im Detail sowohl in der klanglichen Beschaffenheit (Rauheit versus relativ glatte Politur, oder besser leicht abgemilderte Rauheit) als auch in der Struktur (Fluss versus Stakkato und alle Zwischenstufen). Den Auftakt bildet ein Track, den die beiden (wie vermutlich in fast allen Stücken) in Mail Art-Manier zusammen mit der ursprünglich mal als Band gegründeten und heute von Junkie im Alleingang betriebenen Shanghaier Institution Torturing Nurse und dem deutschen Noise- und Experimental-Act Grodock aufgenommen haben. Nach wenigen brummenden Sekunden bricht eine Lawine aus Schutt und Geschrei auf die Ohren nieder, und was anfangs noch eher wie im Fluss wirkt, in welchem man die Schreie von Kindern und Schmerzgeplagten hört, wird irgendwann von einem ohrenbetäubenden Donnern und Rattern und Rumpeln zerstampft. Anschließend geht es in Zusammenarbeit mit Richard Ramirez und dem Landsmann Zenabi zunächst etwas zurückgenommener zur Sache, man hört verhaltenes Brodeln und Kratzen, bei dem sich zum einen die vielzitierte Noise-Wall mit rauer Tapete abzeichnet, aber auch das, was ungeübte Ohren gerne einen “Kaputte Boxen-Effekt” nennen. Das ist aber nur die Kulisse, auf der sich viele andere zum Teil entgrenzte Dinge wie schwindelerregender Drehungen oder höllisches Gekeife aus einem riesigen Mund ereignen. Die qualvollen Schreie zeigen sich am eindrücklichsten in dem Track, den Coalminer zusammen mit dem aus dem experimentellen Black Metal stammenden niederländischen Projekt Gnaw Their Tongues und dem Amerikaner Ethan Lee McCarthy alias Many Blessings aufgenommen hat. Hier mischen sich die Todesschreie in ein furioses ambientes Rauschen, das mit der Zeit immer mehr zu einem kleinteiligen, schnellen Flickerbild mutiert. Zusammen mit Toshiji Mikawa (seines Zeichens Mitgründer der Incapacitants) und dem von Bangkok aus operierenden Polwach Beokhaimook alias Unsignified Death schließt die erste Seite mit einem Track, in welchem eine anfangs fast noch angenehm klingende Wall durch hochtönendes Feedback, beängstigendes Lachen und herausgekotzte Vocals zum Einsturz gebracht wird. So wird Antimaterie zu einem Fest für die Ohren. Zu einem kompletten Tapetenwechsel (ohne Raufaser, pun intended) kommt es beim Auflegen der zweiten Seite, denn die beiden jeweils rund zehnminütigen Stücke, die Maurizio Bianchi hier unter seinem Kürzel M.B. abliefert, könnten zum bisher gehörten kaum eindrucksvoller kontrastieren. Was vom Label als “sounds of iluminescent and rushing keyboard clusters” beschrieben wird, erweist sich als Labsal von flirrender ambienter Struktur, deren helle, obertonreiche Gestalt immer in Bewegung bleibt. Im Verlauf der beiden Stücke entfalten sich – beim zweiten “Yangnay” mehr noch als beim eröffnenden “Gnayang” – leisere und lautere Abschnitte, in denen kleine Unregelmäßigkeiten, die manchmal wie Tonstörungen anmuten, für eine im besten Sinne unspektakuläre Dynamik sorgen. Und durchgehend sorgt eine sonnengeblendete Flimmerästhetik für ein fast nostalgisches Deja-Vu zu klassischen Synthesizer-Kompositionen besserer Zeiten. Weit davon entfernt den Veröffentlichungsturnus v.a. im Harsh Noise zu überblicken schätze ich, dass “Antimateria” zu den herausragenden Releases in diesem Bereich zählt. Das betrifft natürlich primär die Coalminer und seinen Kollegen gewidmete Seite, aber auch in dem hier adressierte Dunstkreis tut ein Blick über den Tellerrand, hinter dem Bianchi seine sanften Keyboardsounds spielt, sicher ganz gut. Tolle Platte, die hoffentlich nochmal neu aufgelegt werden wird." [U.S./African Paper] "First off, this album has six different vinyl versions, ranging from 10 copies in pristine white to 90 copies in red/brown flamed. Some are with additional CDs, some without, but Grubenwehr really put some effort into this release. I give compliments to you guys; your effort and energy paid off. The two sides of this album are unrelated to each other. With this, I mean, it's not artists remixing each other or collaborative work using each other's sounds or so. It's 20 minutes per artist, and I think I have never had a better opportunity to present two fully different definitions of noise music in the same review to you, the reader. First of all, Side A: Coalminer. A duo from Manilla. Philippines, on their four tracks, work together with friends from all over the world. How about (and it's just half of them) Torturing Nurse, Richard Ramirez, Gnaw Their Tongues and Unsignified Death? And the music is so intense!!! I couldn't tell you the content of the lyrics, but the titles kinda imply it. "Dissection", "Gaping Crevice", "Decomposition" and "Electrocution". I mean ... It's probably all lullabies for the sick and twisted (pun intended). The reverse side contains two 10-minute pieces by M.B., a.k .a. Maurizio Bianchi. M.B. started working on his art in 1979 using pre-recorded sounds and, in 1980, worked more with the generation of his own sounds. He is absolutely one of the pioneers of early industrial and noise, and on the two pieces presented here - "Gnayang" and "Yangnay" - he approaches the theme of "Antimateria" through sounds of luminescent and rushing keyboard clusters. How does that translate to sound? Two lengthy pieces in which not much happens but where a lot happens. It sounded like a combination of organs and vocoders and was never-ending, always moving. I had a few moments where I was drawn into the atmosphere of Wendy Carlos works, but then more of a static/non-static drone. IF M.B.'s interpretation of the subject was that while nothing happens, a lot happens, and at the same time, because a lot happens, nothing happens, then he succeeded cum laude. Beautiful works, but in all honesty, It's an acquired taste." [BW/Vital Weekly]	2023	€20.00
M.B. / DEDALI	Electro Tones	CD	""Elektro Tones" is a collaboration between M.B. / Maurizio Bianchi and DEDALI (Alessandro Bosello). Italian legend M.B. / Maurizio Bianchi is one of the most important and influential artist of the Industrial / Experimental music scene. M.B. has released a huge amount of recordings since his beginning in 1979 and has also collaborated with many important artists such as Merzbow, Saverio Evangelista (Esplendor Geometrico), Aube and many others. Dedali / Alessandro Bosello makes deep atmospheric armaghedon music. He is the creator of the music for the three chapters of the infamous multimedia series "La Fin Du Monde". He also runs the cult music label menstrualrecordings since 2005. Many seminal works by M.B. were released on the menstrualrecordings label and this is their first collaboration. "Elekro Tones" took four years in the making and is one of the most evocative M.B. collaborations to date. Ancient acoustic revelations mixed with visceral modulations offer without fear a pulsating spiral of ascending rational obsessions where neuro electrical impulses are dangerously pushed into unforgiving zones. "An over abundance of electronic tones mixed with great care through selective and visceral modulations between acoustic applications and circumspect sandings. This is "Elektro Tones" album." [label info]	2014	€13.00
M.B. & SOSTRAH TINNITUS	Peripherycal Minimaltronics	CD	"Peripherycal Minimaltronics is the collaborative project of MB (Maurizio Bianchi) and Sostrah Tinnitus, made up of fellow Italian ambient/experimental artist Mario Costa. This album is presented in its full ambient richness through both artists applying varied techniques from sources such as old electronics, magnetic tapes, electroloops and other obscure found and forgotten objects. Recorded in Goa, India, these 6 tracks reflect the vibrant biodiversity of flora and fauna of the place, all brought about by the complex electronic textures and treated sounds of piano sounds, chirping birds, fading footsteps and distant echoes." [label info] https://4ibrecords.com/2018/06/04/mb-sostrah-tinnitus-peripherycal-minimaltronics-cd-out-now/	2018	€13.00
MACHINEFABRIEK	Vloed	CD	" 'Vloed' is a collection of (slightly edited) live performances, recorded between 2006 and 2008 in Amsterdam and Den Haag. "All performances find Machinefabriek in fine form, offering up thick billows of warm guitar shimmer, fluttery staticky ambience, and at one point some uncharacteristically heavy super distorted metallic guitar, but here, it's not so much metal as simply a mighty drone, thick and throbbing and super intense. There are long stretches of near silence and super minimal high end drone, glimmering slow building crescendos, squalls of distorted choral buzz, warm whirring metallic reverberations, shimmery and dense black dronemusik, all the stuff we love about Machinefabriek" (Aquarius). Beautifully remastered with a 20-minute bonus track, 'Vloed' captures the immersive live experience of a Machinefabriek concert. Presented in a stunning matt digipak with modified artwork." [label info] www.coldspring.co.uk "Some time ago I had the pleasure of reviewing an album by Dutch sound artist Rutger Zuydervelt alias Machinefabriek. It was the album titled "Daas" that combined elements of ambient, modern classical, drone, noise and field recordings. Next album from Machinefabriek also released on Cold Spring is titled "Vloed" (Dutch word for "River") is a collection of slightly edited live performances from the period 2006-2008 recorded in the Dutch cities Den Haag and Amsterdam. The album consists of three live pieces and one bonus track titled "Vrijhaven" that was until now only available as a download-version. The album opens with the piece "Allengskens" recorded live in June 2006; a nice and atmospheric ambient track running 18 minutes. The track is repetitive, consisting of drones primarily based on guitars and pedals. Another important part of the piece is the electronic spheres creating some dreamy overall textures. Next piece titled "Drijfzand" running 13 minutes opens slowly with minimal high frequency sound drones that slowly builds up to halfway through the track where processed choir-samples penetrates and moves along in loop-based manners before it slowly fades out with high-pitched noises ending the track. "Vrijhaven" is a more cynic and cold track build on guitar-drones that whines and waves adding a great hypnotic experience throughout the 21 minutes runtime. Final piece is the titled track "Vloed" recorded live back in October 2007 at Bimhuis in Amsterdam. Another beautiful ambient-based piece built on guitar timbres waving and lulling the listener into deep trance for 22 minutes until it slowly fades away. Astonishing album from one of Holland's most interesting contemporary ambient artists." [NM/Vital Weekly]	2010	€13.00
	The Measures Taken	CD	"After last year's two releases (a compilation of rare tracks ”Dubbeltjes” and the reissue of a collaborative album with Dag Rosenqvist entitled ”Vintermusik”) a renowned sound artist Rutger Zuydervelt returns with a completely new album called ”The Measures Taken”. It is the score for a dance performance by choreographer Alexander Whitley and visual artists Marshmallow Laser Feast. ”The Measures Taken” was originally commissioned by the Royal Opera House (it premiered there in May 2014). The spectacular performance involves a lot of hi-tech interactivity between dancers and projected visuals. The theme of man vs/with machine is magnified by the music, which combines warm melodic pads with glitchy white noise and (more than on any other Machinefabriek release) propulsive rhythms. Now you can enjoy the music from the performance on a physical album which is also striking without the use of the visual side. The album is released in a 3-panel ecopak in a strictly limited edition of 300 copies. The cover is based on the original by Rutger Zuydervelt. It was mastered by Łukasz Miernik. The whole production process was overseen by Michał Porwet." [label info] www.zoharum.com "It seemed 'quiet' lately when it came to Machinefabriek. It might have been not since Vital Weekly 925 that we last reviewed something - which, in the world of Machinefabriek, not equals: didn't release anything - but I do know he's busy with on-site pieces, installations and in the case of 'The Measure Taken', music for a choreography by Alexander Whitley and also, at the same time, visual artists Marshmallow Laser Feast. This piece was commissioned by The Royal Ballett Studio programme and premiered in April 2014 in France and also performed in London. There's a short introduction piece, followed by the four parts of the piece. Obviously I haven't seen the dance piece, or the visuals, but judging by the music, there has been a shift in Machinefabriek's music. Some of the 'old' Machinefabriek is still present here, the long ambientesque soundscapes is of course something that is still present, but it seems as if Machinefabriek now handles the form of sound collage more and more, building towards crescendo's and then drops out radically. Another important addition is the use of rhythm in 'Part II'. A kind of click 'n cut rhythm that is not unlike that of, say, Carsten Nicolai. It's quite surprising but it works out very well. Topped with some noise bits here and there, this is surely on the more varied releases by Machinefabriek in quite sometime. If you aren't the biggest fan of Machinefabriek but like to check out a release every once in a while, then make sure you check out this one." [Fdw/Vital Weekly]	2015	€13.00
MACHINEFABRIEK WITH ANNE BAKKER	Short Scenes	CD	https://zoharum.bandcamp.com/album/short-scenes Machinefabriek, or Rutger Zuydervelt, is one of the most prolific artists in the field of contemporary experimental music. However, unlike many musicians with extensive discographies, the quantity goes hand in hand not only with the quality but also diversity. "Short Scenes" (the sixth album by Rutger on Zoharum) is a mixture of electronic textures and neoclassical violin parts enclosed in twenty miniatures. Rutger Zuydervelt on the album: ”Short Scenes” came to life when working on a soundtrack with violinist Anne Bakker. Taking a series of her improvisations as a starting point, I started to edit and construct them into new songs - no pre-conceived plan, just being lead by these violin recordings. Still working in the ”soundtrack modus operandi”, the resulting tracks are short and concise. None of them ended up being used in a score, but from the very beginning I felt these little vignettes would form a darn fine album. And here it is.” The album is released in a 3-panel ecopak in a strictly limited edition of 300 copies. The cover is based on the original by Rutger Zuydervelt. It was mastered by Łukasz Miernik. The whole production process was overseen by Michał Porwet.	2018	€12.00
MAEROR TRI	Multiple Personality Disorder	CD	"... this debut CD by the German trio Maeror Tri is a devastating experience in sonic art. In the realm of Soviet France, Cranioclast or The Hafler Trio, its's hard to call such constructed wedges of noise music, this is something else. In fact I think it just scared four people who entered the Ultima Thule shop, leaving with bewildered and perplexed looks on their faces! Be they atmospheric or intensive, Maeror Tri offer a challenging sound that defies description." [Alan Freeman, AUDIO, 1993] "Maeror Tri als der J.G. BALLARD der Musik." [Vi-Va-Vogel, Auf Abwegen] "Some music is related to a period, because of the sound of the amplifiers, recording possibilities, effects and synthesizers. The technic colors the sound during that period and gives is that time limit. I cannot say that about the re-release of the timeless sounds at the CD "Multiple Personality Disorder" (MPD) of the not anymore existing German group Maeror Tri. The groups existed from 1998 - 1996 and has the following members Stefan "Baraka [H]" Knappe, Martin "GLIT[s]CH" Gitschel and Helge Siehl. Stefan Knappe and Martin Gitschel continues to make music with the group Troum and releases music with the vinyllabel Drone Records. From 1998 - 1993 Maeror Tri released a lot of tapes. The music for the first CD Multiply Personality Disorder was recorded in 1991 and released in 1993 by Korm Plastics as a limited edition of 600 in the serial Introductionaire to promote the music of new musical artists. For now the re-release has been done by the Purplesoil from the Czech Republic. During the musical project the group examined the different states of mind and characters by means of music and they want to confront the listener with the totally different states of mind and feeling of people with MPD. The CD exist of five compositions, with different moods, from ambient and atmospheric to aggressive and anxious. And really I was confronted with the different moods some with MPD. The meaning of the album has been successful. During that same period I was working in a psychiatric hospital with people with so-called personality diseases. I worked also with people with MPD and they presented themselves with totally different characters, behaviour, clothing, sexual preference and sound of the voice. I was really very difficult to work with these people because I had to deal with one person, but sometimes during daytime with three or four different persons. Most of these people had very bad childhood experiences and they try to deal with the some treating or stressful reality with different personalities. For now MPD has become more on the background but this release is really a good flashback of that period and a successful experiment of Maeror Tri." [JKH / Vital Weekly]	2009	€13.00
	Hypnobasia	CD	"Musicians of the now-defunct Maeror Tri have already had many opportunities to work with Zoharum on both releasing their new recordings and reissues of their older material. Our catalog contains titles by Troum ("Autopoiesis / Nahtscato", "Seeing-Ear Gods" and "Dreaming Muzak"), 1000Schoen (double split with Polish Ab Intra), and also their original project Maeror Tri ("Emotional Engramm" and "Meditamentum"). Together with musicians we remove blank spots in their discography by restoring their older recordings. Maeror Tri was a project operating since the mid-80s until 1997, when they released their last album entitled "Emotional Engramm." In their works they penetrated such genres as minimalism, ambient and industrial music, and borrowed drone aesthetic from classical music. In addition to seven regular albums on CD and LP, they released a number of cassettes. They contained much rawer recordings compared to those from the trio's regular albums. One of these two tape albums is "Hypnobasia" originally released in 1992 by the Italian label Old Europa Cafe. It was the fifth tape in the discography of Maeror Tri. The following rerelease is expanded with 3 additional tracks lifted from various artists compilations from 1989-1992. All the recordings have been remastered for this release. The album is released in a 2-panel ecopak in a strictly limited edition of 350 copies. The cover is designed by Marcin Łojek (rozpad.com). It is mastered by Łukasz Miernik. The whole production process is overseen by Michał Porwet." [label info] www.zoharum.com "MAEROR TRI war ein Trio, das vom Ende der 80er-Jahre bis zum Jahr 1997 aktiv war. Nach einer Reihe von Veröffentlichungen, die sich in dem Rahmen Dark-Ambient, Industrial, Drone, Experimental einordnen lassen, war mit dem 1997er-Album „Emotional Engramm“ jedenfalls Schluss. Zwei Mitglieder, MARTIN GITSCHEL und STEFAN KNAPPE, machten danach mit TROUM weiter; HELGE SIEHL veröffentlichte in den Folgejahren als 1000SCHOEN. Gerade zu Beginn der Existenz von MAEROR TRI wurden eine Reihe von Tapes veröffentlicht, von denen einige bereits auf CD wiederveröffentlicht wurden. Die noch vorhandenen Lücken möchte nun das polnische ZOHARUM-Label schließen, indem es zum einen „Sensuum Mendacia / Somnia“ und zum anderen „Hypnobasia“ wiederveröffentlicht. „Sensuum Mendacia / Somnia“ umfasst dabei das „Sensuum Mendacia“ Tape und die MAEROR TRI-Stücke des „Somnia Et Expergisci“ Split-Tapes, das damals zusammen mit NOSTALGIE ÉTERNELLE veröffentlicht wurde. „Hypnobasia“ wurde noch um drei Tape-Compilation-Stücke aus der Zeit ergänzt. Gemeinsam ist beiden Veröffentlichungen, dass die Gitarre prägendes aber nicht wahrnehmbar dominierendes Element ist, wobei das Klangspektrum von Drones und Noise bis hin zu Akkorden und melancholischem Einzelanschlag der Saiten reicht. Die zupackendere, Richtung Industrial und Noise tendierende Seite von MAEROR TRI deckt hier definitiv „Hypnobasia“ ab, hier wird mit rhythmischen Elementen, Noise und bearbeiteten Stimmen gearbeitet. Ruhiger, flächiger, klanglich weitläufiger und auch melancholischer erscheint dagegen „Sensuum Mendacia / Somnia“. Der Klang erscheint bei beiden Veröffentlichungen als organisches, mit vielen Unebenheiten und Wendungen ausgestattetes Gebilde. Hochgezüchtete, digitale Soundwälle oder gar symphonische Elemente sucht man hier jedenfalls vergeblich. Im Klangbild mag man hier und da vielleicht den Staub der 90er-Jahre und die vielleicht noch nicht ganz ausgereifte technische Ausstattung erkennen; dennoch haftet dem Sound eine gewisse Zeitlosigkeit an, die das Wirken von MAEROR TRI auch aus heutiger Sicht als spannend erscheinen lassen kann." [Tony F. für nonpop.de]	2016	€12.50
MAGNETICA ARS LAB / MAURIZIO BIANCHI	LoopKlängeNoise	CD	"MAGNETICA ARS LAB is the musical project founded in Cagliari (Italy) by Arnaldo Pontis, computer specialist and electronic musician, active for a long time in the electronic experimentation and sound. He was a member of TH26, Machina Amniotica and many other musical projects. "LoopKlänge Noise" is the magnificent result of his collaboration with the father, founder and precursor of industrial sound in Italy: MAURIZIO BIANCHI / M.B. Subtitled "Verses Without Words" and inspired by the work of Vasilij Kandinskij and by his theories about necessary contamination between visual art and music, "LoopKlängeNoise" quotes two of the most important books from the author's abstract expressionist years: "Klänge" (München, 1912) and "Verses Without Words" (Moscow, 1903). Following the original structure of the book "Verses Without Words" the artists recorded 13 double-titled tracks, in which the "second title" is an hommage to Kandinskij's 13 pictorial works originally included in this book. Magnetica Ars Lab and Maurizio Bianchi invited some of the best projects from Sardinia's and few important artists from Italian electronic, experimental and industria music scenes. "LoopKlänge Noise" is the result of a great collaboration release featuring exclusive guest artists / musicians on each track: Fausto Rossi / FAUST'O, SIMON BALESTRAZZI (T.A.C.), CORRADO ALTIERI (Uncodified, Monosonik, Th26), RAIMONDO GAVIANO (Svart1), MAUTHAUSEN ORCHESTRA, NICOLA BOARI (SLP), NICOLA LOCCI (Exagonal), MASSIMO OLLA (Noisedelik), ALEX NASI (Colonel XS), ROBERTO BELLI (Brigata Stirner), Kaiser Schnitt Amboss Laszlo and more. The CD is available in a limited edition of 300 copies in slim DVD box, + a 16-page booklet with info and great photos by FABRIZIO TEDDE. All (unpublished) photos were taken by Fabrizio from industrial mining areas of the Sulcis region in Sardinia. The booklet includes also few excerpts from writings and quotes by John Cage, Klaus Schulze, Wu Ming, William S. Burroughs, Jean Baudrillard, Luigi Russolo and more. "We fought for painting, but painting alone will not suffice. I had the idea of a synthetic book that removed half of the old, narrow conceptions, breaking down the walls between the arts.... and finally prove that the problem of art is not a problem of form but a problem of spiritual content." Kandinskij" [label info] www.finalmuzik.com	2013	€12.00
MALLINDER, STEPHEN	Um Dada	LP	Stephen Mallinder, co-founder and frontman of the iconic Cabaret Voltaire, has returned with his first solo album in over 35 years: Um Dada. Laced with leftfield house and cut-up sound collages, Um Dada is a melding of energies that are an exercise in simplicity and motion. Sincere, playful realism that beckons your body to move, always reminding you to never take yourself too seriously without forfeiting your agency.While steering Cabaret Voltaire through the 1980's, Mallinder was already busy piecing together his first solo album entitled "Pow Wow", which would help define Mallinder's interest in the more leftfield electro sounds shaping England at the time. It was this diverse and abstract hybrid that helped inspire generations of artists and musicians through steeping raw machine funk within the whimsical and absurdist ideology. Since the release of "Pow Wow" in 1982, Mallinder continued his pioneering work with Cabaret Voltaire, as well as recording and touring with his electro projects Wrangler, Creep Show, Hey Rube, Kula, and Cobby & Mallinder. In addition to his non-stop schedule in electronic music, his professional life as a journalist, broadcaster, producer and now a professor of Digital Music & Sound Art at the University of Brighton, has lead Mallinder to a unique point in his career. Most in his position would be caught up in rosy retrospection, but Mallinder himself says, "There's too much digital finger-licking right now; every thought and desire at the turn of a dial_ well a click of the mouse. And there's a giddy, false nostalgia about the analogue past. Sorry to burst your bubble but the truth of history is more mundane: practical, pragmatic...Um Dada is about `play' - cut and paste, lost words, twisted presets, voice collage, simple sounds - things that have been lost to technology's current determinism. Let the machines talk to each other, let them dance .. they lead, we follow."Um Dada opens up with the exact machine-led surrealism that Mallinder recommends in "Working (You Are)". A thick, stripped back dance floor groove provides the ideal foundation for Mallinder's eccentric vocal cuts. The frisky chops present an almost twisted irony, subtly bringing to mind the role we're all forced to play as just another cog in the ever grinding capitalist machine of life. Yet, somehow, the listener is left feeling optimistic. A prime example of simplicity at work. Tracks such as "Satellite" give a skillful illustration of Mallinder's adeptness with his musical expertise while preserving his core historical context as only simple reference. The underlying bassline and percussion, coupled with the floating melodies and airy vocal refrain disclose the vulnerabilities of love and loss without a hint of irony or nostalgia.Um Dada is mischievously idealist, however never loses touch with reality. Offering structure while simultaneously dismantling any and all preconceptions. The spirit of sincerity that sustained Cabaret Voltaire's lengthy career is abundantly present within founder Stephen Mallinder's journey through his own whimsical utopian consciousness and staking claim to an identity that is solely his own. https://www.daisrecords.com/products/stephen-mallinder-um-dada	2019	€21.00
MANDIBLE CHATTER	The Drone EP (SOLD OUT)	7	"This duo from San Francisco likes to play on different levels, on different scales, and in different areas – all at the same time and even on the same release. Rarely, if ever, has a CD covered a broader range of musical styles than their latest masterpiece, Food for the Moon. From the truly experimental to real pop tunes; from dark atmospheres to harsh outbursts; from ritualistic percussion to melancholic folk – it's all present in the acoustical world of MANDIBLE CHATTER. So, clearly this 4-track-EP is far from "standard". Here we find strange reverberating rhythmical patterns, rather meditative drones, strange singings and environmental recordings... All reaching its peak with a short fragmentary "pop" song that leaves the listener unsure whether to laugh or cry - or both! This is modern pluralism. VIOLET VINYL, B/W DREW & PRINTED COVERS BY THE ARTISTS." [press release]	1999
MANIFESTO	Rust	CD	"Silken Tofu is proud to present RUST, the third album by Swedish artist Magnus Zetterberg aka Manifesto. Emotional and mental decay, self-contempt and depression being the main themes, RUST consists of seven brooding yet introspective tracks, following the proud death industrial tradition of other Swedish artists as Megaptera, Mental Destruction et al. After releases on such labels as Plague Recordings and Quartier23, this is the most accomplished and mature work of MANIFE STO." [label info] www.silkentofu.org	2012	€13.00
MARHAUG, LASSE	Provoke	LP	Lasse Marhaug has for 35 years been one of Norway’s most prolific and active sound and visual artists. As a producer, studio engineer, curator, photographer, designer, filmmaker, composer, improviser, self-publisher and writer Marhaug has worked across a wide range of formats. Collaborators include artists like Joe McPhee, Merzbow, Jenny Hval, Okkyung Lee, Jim O’Rourke, Paal Nilssen-Love, Kevin Drumm and many more. Despite being involved in hundreds of releases Marhaug’s solo albums are more rare efforts, and ‘Provoke’ marks the fifth album on Smalltown Supersound, a 25 year long collaboration that started in the late 1990s. ‘Provoke’ is the follow up to 2021’s ‘Context', and is the first solo recordings Marhaug has recorded since he moved back to his native home in the Arctic, northern Norway. Marhaug states that moving north again has given him a sharper focus and that the album could be seen as a meditation on how growing up in this rural environment shaped his aesthetics and approach to sound, music and form. While it can be a harsh and cold climate, northern Norway also offers, he says, an ever-changing palette of light and is an incredible landscape. While the music is largely electroni, ‘Provoke’ also features sounds recorded outside in the winter, which the final track’s ‘Minus 14’ title is perhaps a giveaway. The album took a year to record and was mixed during the two-month’s Polar night season, a time where the sun does not cross the horizon. The title ‘Provoke’ is like ‘Context’ an ambiguous word play. It means everything and nothing at the same time. Does noise music provoke anymore? Did it ever? What are its subversive qualities? One reference is the 1970’s Japanese photography magazine of the same name, an experimental small-press publication that with artists like Koji Taki, Daido Moriyama and Yutaka Takanashi at the forefront set out to subvert and find a new language for photography. The difference between photography in Tokyo in 1970 and electronic music the Arctic in 2024 is of course huge, but the radical attitude to form certainly shares common ground. Marhaug still does not consider himself a musician, but rather a visual artist that got sidetracked by the possibilities of sound. Musically ‘Provoke’ follows up where ‘Context’ left off, with an elegant mix of angular electronic juxtapositions and horizontal lines. Marhaug is now working with a stronger emphasis on pulse and rhythmic constructions, as well as more tonal and (almost) melodic elements. This clarity and sense of design makes the music come across as more defined and luminous. The music is less of a dense layer of fog, yet Marhaug manages to create a feeling of great depth and three-dimensional space. ‘Provoke’ is a journey through the elements, rippling time space and displacing gravity, but also grounded and earthbound. Music both as architecture and landscape, sound that describes light. ‘Provoke’ feels like a landmark and high point in Marhaug’s already extensive catalogue. https://marhaug.bandcamp.com/album/provoke	2024	€29.50
MARIAE NASCENTI	Raise your Paw to the Sky and break the truce	CD	Second Mariae Nascenti's long awaited full length album on Final Muzik is out, and we're proud of it! Produced by Fabrizio Modonese Palumbo (Larsen), "Raise..." is without any doubt the best ever recorded work of Mariae Nascenti: pain, loneliness, immagination, dreams, blood, souls and flesh collide together in this emotional wonderful album. You can file it under (some) Coil or Current 93 early recordings, or it could remind you a few N.W.W. song-oriented chapters. That's ok... but "Raise..." develops though vital energy a devastating tabula rasa of feelings, through another-dimension melodies, "found" songs, silences, sudden spoken texts, obscure nightmare soundtracks and cold nocturnal music for black'n'white memories. Limited edition of 1.200 copies, digipack, including video-track and mini-booklet. Featuring musicians from Larsen, Northgate, Blind Cave Salamander, Femina Faber / Ludmila, DsorDNE, and many, many other artists and Ango's friends: Final Muzik says "THANK YOU!" to all of you for this amazing album, sisters and brothers!" [label info] www.finalmuzik.com	2007	€10.00
MARSEN JULES	Golden	CD	"Den Sommer begrüßt das Genesungswerk friedlich mit diesem Album von Marsen Jules. Auf GOLDEN treffen sich Gitarre, Piano und Elektronik zu einer harmonischen ménage à trois. Gelegentlich unterstützt von Ziehharmonika, Flöte und Geige finden sie sich nach einer Winterwanderung vor dem Kamin ein. Leise knisternd entzündet sich ein Feuer und vertreibt die Kälte aus unseren Gehörgängen. Akustikgitarre und Piano zeichnen die melodischen Linien, während sich die Elektronik einfühlend der Klangfarbe des Interieurs annimmt. GOLDEN ist wahrlich ein treffender Titel , funkeln und glimmen doch bei allen sieben Stücken die Klänge, ohne ihre Hörer je zu blenden. Sehr intim, sehr nah, zugleich klar und transparent taucht die Schönheit der Instrumente den Sommer in ein neues Licht." [label info] Electronica-Ambience reminding at times of newer ULTRA MILKMAIDS or a more poppy WILLIAM BASINSKI... "Close followers of these pages will already be intimately familiar with the work of Marsen Jules, responsible as he is for two of the loveliest albums we've had the pleasure of stocking these last few years. His debut album "Herbstlaub" strolled into an autumnal tundra of layered strings and neo-classical arrangements that best brought to mind the work of Arvo Part, attaining both critical and commercial acclaim from all quarters of the music scene. His dense follow-up "Les Fleurs" approached similar terrain but with a more colourful sound-pallette, creating an aural bloom of dense orchestral reductions that kept the minimal composure intact despite the rays of aural sunlight allowed to seep into Jules' unique, inspiring studio. This long awaited new album "Golden" takes little time in declaring its place as a worthy successor to both its predecessors - it's a breathtaking collection of pieces that begin from the same neo-classical starting point and unfurl in different directions, taking in acoustic guitar, barely audible electronic pulses, dense orchestral reductions and heavy filtering along the way. You'd find it difficult to get past the album's incredible opening track "Birkengefluster" without finding yourself incredibly moved by what's in front of you - another shimmering weave of elongated midnight strings and subliminal melodies consorting to force you to abandon all resistance in the face of its relentless beauty. By the time second track "Wharend" wheezes into life with its prepared piano passages and other-worldly washes of sound, you'll be unable to acknowledge anything else in your surroundings bar the music. Marsen Jules is just one of those rare artists who manages to achieve so much with such limited material at his disposal - it's both the simplicity and timeless quality of the 7 long tracks here that make "Golden" not only one of the most beautiful albums you'll hear this summer, but also one that you'll find hard to let go of come autumn. Sublime music - essential listening.'' [Boomkat] www.genesungswerk.de	2007	€10.00
MARUTTI, ANDREA / CARLO GIORDANI	Impressioni Organizzate Di Ansie Liquide (part 1)	mCD-R	this aquatic collaboration between those two italian artists (the ambient master and the field recordist) is the first part of a large body of work that will should fully be released sooner or later... andrea marutti: synthesizers, samples, treatments, mixing, mastering carlo giordani: field-recordings, tapes, treatments, mixing recorded and assembled between december 2013 and may 2019. photography by carlo giordani. the piece offered here is part of a larger body of work originally commissioned by Ambiente H to provide a soundtrack to "aquology - oceano interiore", a multimedia project by massimo indellicati. https://taalem.bandcamp.com/album/impressioni-organizzate-di-ansie-liquide-alm-134	2020	€5.50
MASONNA	Masonna Vs. Bananamara	LP	Absolutely incredible and visionary - not to mention an engrossing, challenging, and thrilling listen - Masonna Vs Bananamara vinyl reissue stands high among the most significant of the year, allowing us to witness where it all began for a hugely important artist’s lifelong commitment to an exploration of noise music. This beautiful pressing - issued as a deluxe vinyl edition of 299 copies - is the first ever reissue of this masterstroke of noise, faithfully reproducing every aspect of the original 1989 release on Vanilla Record. Truly stunning and historically monumental within the genre, it can’t be missed by any fan of Japanese experimental music and noise Mademoiselle Anne Sanglante Ou Notre Nymphomanie Auréolé, the double-barreled name for Masonna , is one of most prolific, adventurous, and respected noise artists, making dozens of releases on his own legendary and astonishing label Coquette, presenting them in very limited editions, sometime totally confidential (one sole copy), and reflecting his predilection for 60’s psychedelic music revisited in its own very peculiar way. He transforms his voice into noise, feeding the microphone back through a process of extreme distortion. His shouts become clipped bursts of overloaded sound, doubled and extended by a delay that displace the sounds into stuttered blasts of static. From noise lines to minimal, warbling expanses, to the ambiences and schizoid thinking effects, it’s a journey into a versatile mind who we clearly never heard enough from. Masonna claims that his interest in making noise is rooted in childhood encounters with the sounds of destruction on tv. Initially playing in Japanese punk band The Sadist, active since the mid '80s, as vocalist under aliases of Rin with his buddy and guitarist Michio Teshima, who founded Vanilla Records in 1985 to release the band's works. In a very few years Michio's label will become a reference point for all Japanese noise projects, releasing artists such as Violent Onsen Geisha, C.C.C.C., Incapacitants, Solmania, Aube, Merzbow and needless to say Masonna. On 1988 Masonna released debut album Like a Vagina on cassette by Coquette (reissued on vinyl by Urashima last year), an overdriven blast of psychedelia and harsh noise, that would rattle everything in its wake. Masonna Vs. Bananamara, Masonna’s second release, was originally issued , of course, on Vanilla Records in 1989 in a tiny vinyl edition of 290 copies. Given its iconic status and rarity, it’s little wonder that it currently commands heavy figures on the secondary market. In classic DIY form, it was recorded at home by Masonna on a variety of instruments, with hallucinatory vocals, and used no mixing and overdubbing, rendering a startlingly visceral and dense effect. Across the album’s two sides - containing a mind boggling 29 tracks - Masonna transforms his voice into noise, feeding the microphone back through a process of extreme distortion. His shouts become clipped bursts of overloaded sound, doubled and extended by a delay that displace the sounds into stuttered blasts of static, heavily underscored by explosive blistering guitars, and cascades of electronic noise, culminating as one of the most striking and emotive gestures in the entire genre of noise. https://urashima.bandcamp.com/album/masonna-vs-bananamara https://urashima.bandcamp.com/album/masonna-vs-bananamara	2022	€23.00
	Inner Mind Mystique	LP	Masonna, the moniker of the Osaka based artist Maso Yamazaki, belongs to the second wave of Japanese noise. The name alone, a pun on Madonna’s name by combining the Japanese words Maso (マゾ, Masochist) and Onna (女, Woman), illuminates the wry humour and intensity that rubbles below his work. Masonna claims that his interest in making noise is rooted in childhood encounters with the sounds of destruction on tv. Initially playing in psychedelic rock bands, following encounters with the work of artists like Hanatarash and Nord, he disappeared from view for a number of years, quietly developing his own singular vision of the idiom, before bursting onto the scene in 1987 with a performance style, marked by frenetic energy, damaged equipment, wild body movement, and often personal injury, that quickly set him apart. The following year, he released his debut album, “Like a Vagina” - an overdriven blast of psychedelia and harsh noise - that would rattle everything in its wake. In recent years, Urashima has dedicated considerable energy to slowly returning Masonna’s back catalog to print, many of which were issued in tiny editions and have remained virtually unobtainable since their initial release. The latest among these is the project’s “Inner Mind Mystique”, originally released in 1996 on CD. Comprising seven studio recordings that embark on a full sonic onslaught of few equivalents, the album deftly deploys Masonna’s mastery of cut-up techniques, folding screaming vocalisations, effects, burbling electro noises, high-pitched twees, and other sci-fi sounds into a hurling mass that balances between something deep and primal and futuristic. Each piece is the culmination of a vast array of electronic sound events, meticulously sequenced within a complex vocal fusion of earthly and heavenly sounds that almost transform into a form of violent ambience because of the density and consistency that they display. Immersive and almost transcendental in effect, Masonna’s “Inner Mind Mystique” is unquestionable an high water mark in the history of Japanese noise, taking the extremes of an already boundary pushing genre into the next realm. Truly amazing and not for the faint of heart, Urashima’s beautiful edition of 299 copies represents this masterstroke’s first ever appearance on LP and comes complete with an A3 poster and a cardboard insert, housed in a sleeve faithfully reproducing every aspect of the original 1996 release. An absolute must for any fan of experimental music and noise.	2023	€24.00
MASTER MUSICIANS OF BUKKAKE	Far West	CD	"On Far West, the MASTER MUSICIANS OF BUKKAKE mark a turn from their Totem Trilogy. If the Totems were an expression of yang energy, then the Far West cycle is the yin that took seed within the trilogy. What happens when you travel so far east looking for enlightenment that you pass your destination and are headed west again? The mania of being lost in the mountains of the Cascade Corridor, searching aimlessly for the Northern Pacific coast. A spiritual Donner party of sorts, feeding off fantasy and mirages and imaginary shamans. Far West is the soundtrack to this expedition to the caves of light we all travel into with hopes of acquiring redemption, only to realize our bodies have dissolved—gone like rain from the sky, snow from the ground, thoughts from the mind. The sound of Far West is a progressive folk record inspired by Paul Giovanni's Wicker Man soundtrack, early Canterbury prog folk, the suspenseful soundtracks of Goblin and Ennio Morricone, Gerry Goldsmith's interwoven dark orchestrations, and Pacific Northwest folk rock. The Master Musicians of Bukkake take an earthly and shamanistic approach to these influences and infuse it with Krautrock pulses interweaved with acoustic guitars, intricately layered rhythms, hazed-out modular analog synths, brassy stabs, and cultish choirs. A true psychedelic, audiophile experience to dissolve your body in. Far West also features backing vocals by Sub Pop! recording artists ROSE WINDOWS, a deluxe cover illustration by Simon Fowler, and the amazing photography of ALISON SCARPULIA." [label info] www.importantrecords.com	2013	€13.50
MATHIEU, STEPHAN & EKKEHARD EHLERS	Heroin	LP + 12inch	"Between Christmas 2000 and New Year 2001 producers Ekkehard Ehlers and Stephan Mathieu recorded an album of warm, soft, delicately crackling electronic music in the space of that week. It was christened with the ambivalent title "Heroin" and was released on CD via the label Brombron in 2001 and later in 2003 re-issued on Kit Clayton's Orthlorng Musork on double-LP with remixes the pair had commissioned as expansions. 17 years later Heroin sees its first vinyl release to include all 13 tracks from the original CD track-list on this LP + 12“ set. The centerpiece "Herz" finally receives its long deserved vinyl treatment (side C, at 45rpm) and on the flip side Thomas Brinkmann contributes a mirror in a magnificent remix of that very piece on side D. Ehlers and Mathieu were both highly prolific solo artists during the period 2000-2004, and in just two years after the initial release of "Heroin" each had produced over half a dozen new solo recordings: among them the serial masterpiece Ehlers' "Plays" (Cornelius Cardew, Hurbert Fichte, John Cassavetes, Albert Ayler, Robert Johnson) released as 5 stunning LPs in a series on Staubgold, while Mathieu's 'Full Swing Edits' spread over five 10" records plus his album 'FrequencyLib' on Mille Plateaux, 'Die Entdeckung des Wetters' on Lucky Kitchen and ‘The Sad Mac’ on Atsushi Sasaki’s Headz label were greeted to critical acclaim. Both artists were expanding their conceptual sonic approaches in the glow of developing laptop technologies which would to these times in 2020 seem quite primitive, but these two in that period used the state-of-the-art to aid and abet their conceptual visions, while at times the duo used unorthodox experimentation - yet always had a distinctively melodic and musical form at its heart and soul. Ehlers can be seen as a conceptualist, as a meta-musician who interrogates the mediums and methods of sound production - reflecting on the conditions and possibilities of improvisation (e.g. "Plays Albert Ayler") and exploits ideas of mutation and distortion of popular aesthetics played out within a ghostly form of divine pop beauty in his project März. Mathieu, originally a drummer and co-founder of what has come to be known as the Berlin 'Echtzeitmusik' scene. His approach could be similarly described as working a critical analyst and researcher: Subtly and precisely working in the realm of processing as a method of intervening in melodious/harmonic analog sound sources. Ehlers and Mathieu may not think too much about their singular productions and publications outcomes, but instead concentrate on the process and musical personality that characterizes their gesture- style itself stays in the background - and they usher a music from small minimal sound sources coaching a patient music of slow intervention - much like a refraction of light than a concrete painting or a blurred photograph - beatus accident. And indeed, "Heroin" is an album that embraces the happy accident being made up of reduced, often very catchy and very direct micro hooks which seem laser-guided into a space accepting obvious melodic beauty in what feels like an observation of musics unfolding and revealing it's DNA, embed with for a kind of yearning for innocence and naiveté - as if Satie were on the jukebox in "The Crying of Lot 49". Not to say the music is "reduced", but rather: 'restricted' and born from acceptance of limitations, and the artists allowing the sounds to just "be.." with some incremental degrees of coercion. The album not only sounds like that of 2 producers who are both dreamers and scientists, but that Ehlers and Mathieu chose to work with these means in a dialogue together to reduce pop music to its musical/tonal core, it is not Pop music anymore, rather a ghostly pointilistic itteration of song. "Heroin" is located at this transition, around that point at which tracks, that were or could have become pop compositions, irrevocably slip into a static harmonic nirvana. We are invited to follow the arch of Heroin in a slow-motion morphine musical haze. Heroin sounded timeless when originally released and proof is that it remains so, one wishes that Ehlers and Mathieu would convene again for a week, a month or an entire year to continue this process of slow rumination, picking affectionately over the sounds they both love - and then maybe when everything is condensed, evaporated they would write more songs with those sonic refractive elements that remain. Remastered by Stephan Mathieu, March 2020. Vinyl cut by Lupo @ Loop_O. Design by Caro Mikalef for Cabina." https://schwebung.bandcamp.com/album/heroin	2020	€26.00
MATTIN & RICHARD FRANCIS	Lisa Says	LP	"LP clear vinyl 33 rpm release date: 18.09.2012 artists: MATTIN & RICHARD FRANCIS title: Lisa Says order no.: aatp38 time: ca. 50 min sleeve designed by Richard Francis, comes with text insert. Clear vinyl 300 handnumbered copies. On “Lisa Says”: This LP captures the first transcontinental collaboration between artists Mattin and Richard Francis with sounds recorded in Stockholm, Berlin and Auckland, NZ. The mixdown portrays the current state of affairs in composed noise: filtered gritty sound blocks flow and float with no seeming direction when sudden breaks puncture the structure and create something like a melody. Well, almost. The music is accompanied by a text insert that documents a skype conversation between the two artists discussion the methods and aesthetics connected to this release and their ways of working in general. Mattin Bio www.mattin.org Mattin is a Basque artist working with noise and improvisation. His work seeks to address the social and economic structures of experimental music production through live performance, recordings and writing. Using a conceptual approach, he aims to question the nature and parameters of improvisation, specifically the relationship between the idea of “freedom” and constant innovation that it traditionally implies, and the established conventions of improvisation as a genre. Mattin considers improvisation not only as an interaction between musicians and instruments, but as a situation involving all the elements that constitute a concert, including the audience and the social and architectural space. He tries to expose the stereotypical relation between active performer and passive audience, producing a sense of strangeness and alienatio in that disturbs this relationship. Richard Francis Bio www.richardfrancis.net.nz Richard Francis has been releasing works on CD/vinyl, performing solo and in collaboration as a touring artist since 1996. He uses field recordings of acoustic and electronic sounds and a tone generator to compose sound works. He has released solo and collaborative music on a number of labels worldwide and runs his own label CMR through which he releases limited edition lathe cut records by New Zealand artists. In performance he uses a computer and electronics and has toured Japan, Australia, Hong Kong, Canada, USA and Europe. Since 2003, Francis has composed works for sound installation, participating in group and solo shows at galleries throughout New Zealand. He has collaborated for recording and performance with many artists, and has had recent published collaborative CDs with Jason Kahn (USA/Swiss) and Francisco Lopez (Spain). Collaborations for recording and/or performance: Bruce Russell, Francisco Lopez, Jason Kahn, Mattin, Birchville Cat Motel, Gate, MSBR, Tetuzi Akiyama, Lawrence English, Rosy Parlane, Howard Stelzer, Jason Lescalleet, Jay Sullivan, Empirical, Pumice, Kuwayama Kiyoharu, Phil Dadson, Anthony Guerra, Sean Meehan, Ishigami Kazuya, Antony Milton, James Kirk, MHFS, Tim Coster, Paul Winstanley, Takefumi Naoshima, Toshihiro Koike." [label info] "A project in two parts, one the actual music, as recorded on July 3 2008 in Berlin and one the conversation as a piece of text from August 31 2011 in which Richard Francis and Mattin talk about the recording from three years before, about their methods of working together but also with others. A fascination they have in common is about white and pink noise, and sustaining those sounds. It's an interesting text to read, as it clears up some interesting things but it's not entirely necessary to read the text to like the music I should think. The buzzing, cracking and sustaining sound, which sometimes hoovers closely above the threshold of hearing, reminds the listener of your ventilator or heater buzzing, or the faint noises from afar late at night. If I understand right, this record is for Francis an end to the way he working and for Mattin the start of a new working method, a more conceptual approach if you will. This record contains some very minimal music, with very few sound elements, but are fascinating to hear. Crackles of vinyl (not from the pressing), field recordings very remotely humming and the white/pink noise slowly washing ashore and moving away. All of this in a very quiet and contemplating way. If you think Mattin is all about noise then you should surely try this record for a change. Maybe this is more what you would expect from somebody like Richard Francis, but this is a great improvised electronic record. Excellent head space music." [FdW/Vital Weekly] www.aufabwegen.com	2012	€13.00
MAZUREK, ROB / EXPLODING STAR ORCHESTRA	Dimensional Stardust	LP	Marfa TX-based multidisciplinary abstractivist Rob Mazurek has made an indelible impact on creative music over the past 30 years. Emerging from the musical nexus of the 1990s Chicago scene, he’s written more than 400 compositions and is featured on more than 70 recordings (including International Anthem’s very first, IARC0001, "Alternate Moon Cycles"). He’s led or co-led many ensembles – including the Chicago Underground (Duo, Trio, Quartet & Orchestra), Isotope 217 (alongside members of Tortoise), Pharoah and the Underground (feat. Pharoah Sanders), Alien Flower Sutra (with Emmett Kelly), São Paulo Underground (his primary working group across his time in Brazil), and a duo with Jeff Parker – each of which possesses its own distinct musical personality. While Mazurek’s solo work as a musician expands from cornet, piano, and piccolo trumpet studies to embody musique concrete and electronic experimentation, his composition for large ensemble reveals an intuitive sense of scale. Commissioned by the Chicago Cultural Center and the Jazz Institute of Chicago in 2005 to assemble a group representing the diversity of the city’s contemporary avant-garde, Mazurek amassed a 14-piece ensemble and began composing music for what became his Exploding Star Orchestra (ESO). Including musicians from the often-segregated communities of Chicago’s North, South, and West sides – from his long-time collaborators in Tortoise’s expansive orbit, to Great Black Music luminaries from the hallowed AACM, to free jazz revivalists from the Umbrella Music group – ESO debuted in the urban epicenter of Chicago’s Millennium Park and, shortly after, went into John McEntire’s Soma Studios to record "We Are All From Somewhere Else" (Thrill Jockey, 2007). By the time of "Galactic Parables Vol. 1," ESO’s 2015 triple LP release on Cuneiform Records, Mazurek reflected to Pop Matters that "Exploding Star Orchestra is the conceptual, compositional and philosophical center of all my work... a life star of musical, visual and conceptual ideas." In 2018, JazzFest Berlin curator Nadin Deventer invited Mazurek to present a new iteration of ESO with musicians based in Berlin as well as Chicago. Meeting the commission with the boundless ambition characteristic of his artistic approach, he imagined a jubilee of fifteen musicians and improvisers, true to ESO’s ethos in their widely diverse backgrounds and voices, but more tightly arranged around his intricate compositions than ever before. Summoning an array of symphonic studies – from Béla Bartók to Morton Feldman to Gil Evans to Sun Ra to Pedro Santos to Bill Dixon to The Art Ensemble of Chicago – in an ecstatic and wholly original program, Mazurek’s November 2018 debut at Berliner Festspiele marked a new pinnacle in his distinction as a composer and conductor of Contemporary Music. “Mazurek’s arrangements burst in colors, making synesthetes of us all,” wrote Paul Acquaro in a review of the concert for Free Jazz Collective. When Mazurek returned to Chicago in Summer 2019, International Anthem took the opportunity to capture his new ESO compositions with a cast of collaborators from their collective constellation of artists. Over a handful of studio dates between August 2019 and March 2020, Mazurek channeled his arrangements through 11 musicians – Nicole Mitchell, Jeff Parker, Jaimie Branch, Joel Ross, Mikel Patrick Avery, Tomeka Reid, Chad Taylor, Ingebrigt Håker Flaten, Macie Stewart, Angelica Sanchez, and John Herndon – and commissioned his long-time lyrical collaborator Damon Locks to draft original texts for each of the titles and record vocal tracks. After three months of rigorous post-production, editing and assembly work, in June 2020 Mazurek completed his culminating new collection of ESO recordings: "Dimensional Stardust." "Dimensional Stardust" showcases the intricacy and complexity of Mazurek’s compositions but in their most potent, most compacted forms. Opting to focus on tight ensemble orchestration over passages of open improvisation, Mazurek distills a maximal orchestra of explosive improvisers into a beautifully restrained, graceful group exercise in melodic minimalism. The album features almost no “soloist” moments, excepting Jeff Parker’s other-worldy guitar meltdown on “The Careening Prism Within,” and when Nicole Mitchell’s flute floats to the front of the barrage on “Sun Core Tet.” Mazurek himself is sparsely present as instrumentalist, only occasionally joining the ensemble with his piccolo trumpet (notably on “Parable 3000,” where he shares leads with Mitchell’s flute and Joel Ross’s vibraphone, and his trills and textures haunt ghostly around Jaimie Branch’s trumpet counterpoint). Even Damon Locks’s voice is employed more like an ensemble instrument than a lead vocalist. Locks’ distinctively dry, abstract narrative flow beams in intermittently – sounding almost like fragments of Deltron 3030 through an Orson Wells-style radio transmission – climaxing in the album-closing poetry of “Autumn Pleiades.” And all the way through, the electro-acoustic poly-rhythmic percussion section (Chad Taylor, Mikel Patrick Avery, and John Herndon) churns, thrusting the music forward as the harmonic instruments collectively bow between frenzied, futurist chromaticism and soaring, pan-humanist pentatonic anthems. Somehow swirling the most adventurous elements of avant-garde jazz and contemporary classical into the most universal attractors of pop music, the cosmic opera of "Dimensional Stardust" is a pure spiritual extension of Exploding Star Orchestra’s unifying ethos, and a new peak in the prolific creative career of Rob Mazurek. *"Dimensional Stardust" is the second album co-released by the North & South American partnership of International Anthem & Nonesuch Records, following Jeff Parker's early 2020 release, "Suite For Max Brown." International Anthem & Nonesuch Records are slated to co-release at least 6 titles over 3 years, details on future albums TBA. Outside of North and South America, these albums are marketed & distributed by K7 Records.* Rob Mazurek - director, composer, piccolo trumpet, electronic renderings, modular synth Damon Locks - voice, electronics, texts Nicole Mitchell - flutes Macie Stewart - violins Tomeka Reid - cellos Joel Ross - vibraphone Jeff Parker - guitar Jaimie Branch - trumpet Angelica Sanchez - acoustic piano, electric piano Ingebrigt Håker Flaten - bass Chad Taylor - drums, percussion Mikel Patrick Avery - drums, percussion John Herndon - drum machines https://intlanthem.bandcamp.com/album/dimensional-stardust	2020	€26.00
MCDOWALL, DREW	Lamina	6 x CD-BOX	This long-gestating box set of Scottish electronic pioneer Drew McDowall’s solo work takes its title from a technical term meaning ‘plate’ or ‘layer’ most often used in contexts either geological or anatomical: Lamina. He speaks of the compiling process similarly: “Digging into my archives felt like a mix of psychoanalysis and archaeology – uncovering buried things.” The six CD collection includes expanded editions of his four most recent Dais LPs (Collapse, 2015; Unnatural Channel, 2017; The Third Helix, 2018; and Agalma, 2020), alongside a disc of rarities (Undulations and Aberrations) and one of live performances (Entanglement). Taken together, it presents a definitive portrait of McDowall’s cryptic, questing artistry, forever seeking “that sense of stepping over a threshold.” The bonus material in particular is revelatory, broadening both the context and complexity of its respective full-length. “Palisades,” a Collapse outtake, patiently builds a mantric throb into a rippling cascade of head-nodding cosmic noise, like some glowing shrapnel splintered off the rest of the record. “Tell Me The Name (Alt Version),” a reworking of the eerie opener of Unnatural Channel, embodies McDowall’s goal for the compilation as “a window into the process of iteration.” More emaciated and reptilian than the original mix, the track shivers and shimmers in a reverie of alien melancholy, a corrupted file of some interdimensional hymn. “False Memory Demo,” from The Third Helix sessions, showcases the textural trial-and-error behind these compositions – a wobbly collage of seasick scrapings, sine waves, and tectonic circuitry, tested like source material in a lab. Similarly, an unreleased Agalma vault cut, “Cest,” captures the artist at the brink of breakthrough – a time-stretched drone traced in muffled voices and phasered haze dilates across five lysergic minutes. It’s the sound of a palette being refined, poised for deployment. The fifth disc spans two decades of stray recordings, from 90’s studio experiments to lost comp tracks to sold-out tapes, modular oddities, and rhythmic sketches. Sequenced chronologically, it demonstrates the zig-zagging evolution of McDowall’s sound, colored by formative years collaborating in Coil but extrapolated into freshly forking paths: industrial dub, icy downtempo, tonal devotionals, hexed gamelan, interstitial murk. The suite of live sets, too, is essential listening. He describes his inclusion criteria as performances that fuse “the sacred and the feral, like you’re in a cathedral but the floor is dirt.” All four recordings are rich and unhinged: a spiraling, seething, somber voyage for Ascetic House and Mount Analog’s’s dark experimental series, Nuit Noire; a jagged, dissonant excerpt from his Collapse release show at New York venue Alphaville; a fractured, psychedelic rendering of “Agalma III” for Root Radio’s Exist Festival live stream; and a delirious, magisterial take of “Agalma I” for the Agalma release party at Strange Editions, produced by Quo Vadis (his ambition for which was “to mirror the pandemic-related ontological feeling of being suspended in mid-air”). Despite its duration, Lamina is a leanly plotted survey, devoid of dead weight. Few artists as omnivorous as McDowall are also as self-editing – his standards are rigorous, and revealing: “While working, I’m always changing things, hacking them away, abandoning them when they don’t work. When listening back I’m looking for a sense of awe and wonder. Otherworldly magic. If I’m not hearing that, I don’t see the point.” https://www.daisrecords.com/products/drew-mcdowall-lamina	2023	€38.50
MCFALL, CHRISTOPHER & ASHER	An amber hollowed Night	mCD-R	"a multi-layered track created by two prolific and very talented us sound artists. christopher mcfall first issued a bunch of netreleases on respected labels such as alg-a, conv, earlabs or test tube then physical releases on entr'acte, 1000füssler, mystery sea or sourdine (asher's label). he likes to collaborate with other sound artists too (with ben fleury steiner or more recently with luigi turra on mystery sea's sister-label unfathomless). he's known for his rich soundcsapes full of treated field recordings. asher's output shares many labels with his partner (earlabs, conv, homophoni, mystery sea, and/oar...) and also produces multi-media dvd releases... here's what christopher mcfall says about this track made with four hands: "this release is entitled 'an amber hollowed night.' the reason i proposed this title is that it accurately describes the feelings and environment that i was experiencing when I was assembling the tracks that comprised the final multi-track format. i was composing late at night in my studio and then taking the work that i had done for any particular evening and walking with it in the streets of kansas city to listen and access the results. effectively, this collaboration came to fruition as a result of asher sending me piano fragments taken from a series of recordings entitled 'passages' that was recorded in vermont in 2007 and audio from an installation entitled 'materials for spaces'. i worked extensively with these tracks and combined them with a series of field recordings that i had compliled and recorded to treated tape. the source material for the field recordings were primarily from the train yards here in kansas city, whereby the digital field recording was eventually transfered to treated audio tape. the individual tracks were then manipulated more in the computer and multi-tracked together to form the final recorded track. these recordings were compiled and rendered into 'an amber hollowed night' in the fall and winter months between 2007 and 2008." [label info] www.taalem.com "The final new release is by Christopher McFall and Asher, both highly active with numerous releases in various formats (mp3, CDR, CD). They both have sound input, Asher gives his piano music and McFall field recordings from Kansas City. In the first stage the sounds were treated on tape and then later on the computer. Its probably exactly the kind of piece you would expect from them. Hissy, low in volume, but also highly beautiful. I don't think it adds that much to what you may already know from either of them, but as so often with things like this, that hardly matters. People like McFall and Asher have carved out a very specific sound of their own and work within that very well. A highly atmospheric piece of music." [FdW, Vital Weekly]	2010	€5.00
MEAT BEAT MANFIESTO & MERZBOW	Extinct	CD	Cold Spring is proud to present a unique collaboration between Industrial Breakbeat pioneers Meat Beat Manifesto (Jack Dangers) and the undisputed king of Japanese noise, Merzbow (Masami Akita). "We may not speak the same language, but in the vortex of sound, there's a raw, primal understanding that transcends words. Noise can be art, a visual representation could maybe be Jackson Pollock's No 5, a plexus of chaos redefining what music can and could be. Pushing boundaries with Masami wasn't just a musical adventure, it was a masterclass in sonic anarchy" (Jack Dangers, January 2024). 'Extinct' sees the duo take listeners on a transcendental journey, focusing on the dismantling of beat and structure and recycling the result through layers of beautifully crafted noise and feedback loops, giving birth to new rhythms buried deep in the dirt. The 20 minute opener 'FLAKKA' takes constantly evolving breakbeats which are gradually broken down over time, driven through a filter of harsh noise, destroying the old to give birth to the new. Raw and unforgiving, the track is a behemoth that blends mutant forms of broken beats and hints of dub, creating rhythmic noise of the highest calibre in the process. 'Burner' takes the record to its ultimate conclusion, the initial drum beat broken down so that it is barely recognisable. Pulsating distortion and high end audio fragments bleed into each other as the track lumbers forth and destroys everything in its path before slowly unravelling, degrading and falling apart. A harrowing yet somewhat cathartic trip through walls of harsh industrial noise and audio degradation, 'Extinct' is a masterful pairing of artists who have delivered something truly unique yet totally relevant. Don't sleep on this one! (Todd Robinson / Subunit). • CD in matt-laminate, flood-printed digipak. • Ltd Ed LP: 300 copies on red vinyl in matt-laminate sleeve (via Cold Spring only). • Black LP in matt-laminate sleeve. Composed, recorded and produced November 2023 - January 2024 by Jack Dangers and Masami Akita. Art by Abby Helasdottir (Gydja). VIDEOS (YouTube): '¡FLAKKA!' by Jack Dangers: bit.ly/MBMMerzbow-FlakkaQR (WARNING: NSFW!) 'Burner' by Jack Dangers: bit.ly/MBMMerzbow-Burner Album teaser by Abby Helasdottir: bit.ly/MBM-Merzbow	2024	€15.00
	Extinct	LP	Cold Spring Records present a unique collaboration between industrial breakbeat pioneers Meat Best Manifesto (Jack Dangers) and the undisputed king of Japanese noise, Merzbow (Masami Akita). "We may not speak the same language, but in the vortex of sound, there's a raw, primal understanding that transcends words. Noise can be art, a visual representation could maybe be Jackson Pollock's No 5, a plexus of chaos redefining what music can and could be. Pushing boundaries with Masami wasn't just a musical adventure, it was a masterclass in sonic anarchy" --Jack Dangers, January 2024. Extinct sees the duo take listeners on a transcendental journey, focusing on the dismantling of beat and structure and recycling the result through layers of beautifully crafted noise and feedback loops, giving birth to new rhythms buried deep in the dirt. The 20-minute opener "!FLAKKA¡" takes constantly evolving breakbeats which are gradually broken down over time, driven through a filter of harsh noise, destroying the old to give birth to the new. Raw and unforgiving, the track is a behemoth that blends mutant forms of broken beats and hints of dub, creating rhythmic noise of the highest caliber in the process. "Burner" takes the record to its ultimate conclusion, the initial drum beat broken down so that it is barely recognizable. Pulsating distortion and high-end audio fragments bleed into each other as the track lumbers forth and destroys everything in its path before slowly unravelling, degrading and falling apart. A harrowing yet somewhat cathartic trip through walls of harsh industrial noise and audio degradation, Extinct is a masterful pairing of artists who have delivered something truly unique yet totally relevant. Composed, recorded, and produced November 2023-January 2024 by Jack Dangers and Masami Akita. Art by Abby Helasdottir (Gydja). https://coldspring.bandcamp.com/album/extinct-csr330cd-lp	2024	€23.50
MEELKOP, ROEL	4 Propositions	CD	"Roel Meelkop's musical activities date back to the early 1980s when he started influential group THU20, with Jac van Bussel, Peter Duimelinks, Jos Smolders and Guido Doesborg. The working method of THU20 included many discussions about how to compose and why. This period was crucial in forming Meelkop's ideas and concepts about sound and how to organise it, but it was not until the mid-'90s that he was able to fully realise these ideas. The purchase of a sampler and later a computer radically changed his possibilities of working with sound, offering infinitely more control and freedom. Since then he released works on such labels as Trente Oiseaux (Germany), Staalplaat (Netherlands) and Intransitive (US). His other activities include working as a member of both Kapotte Muziek and GOEM with Peter Duimelinks and Frans De Waard and organising sound events in Rotterdam. Aside from releases, Meelkop also creates site-specific sound installations, often in collaboration with other artists and has performed live around the world Microsuoni.it). This is the first release for the fledgling Tariff Records of Los Angeles, California." [label info]	2002	€14.00
MEERKAT	Kapnos	CD	"In 2003 Maurizio Bianchi and Matteo Uggeri / Hue met through Afe Records; three years later Maurizio asked Matteo for a musical collaboration, which grew up quickly under the design of a long term project called "Between the Elements", a sort of music transposition of concepts that lies in the empty spaces between the natural elements, which are over-abused terms in the New Age music scene. Two albums were published in 2008: one about the concept of "clouds" ("Nefelodhis", by MB and the post-rock band Sparkle in Grey) and one about the concept of "desert" ("Erimos", by MB with Hue and Luca Bergero / Fhievel). One year later, the third chapter entitled "Kapnos" – Greek for "smoke" - is finally available. The industrial master contributes to back notes and concept, but keeps his hands far from the musical matter, leaving it to the expertise of ten of the most interesting experimental musicians of the Italian scene, united under the cryptic name of Meerkat. The Meerkat ensemble is formed by a group of musicians working in the field of experimental music, drones, microsounds and field recordings: Adriano Zanni / Punck, Matteo Uggeri / Hue, Luca Sigurtà, Luca Bergero / Fhievel, Davide Valecchi / Aal, Andrea Ferraris / Ics, Fabio Selvafiorita, Paolo Ippoliti (Logoplasm), Laura Lovreglio (Logoplasm) and Andrea Marutti / Amon / Never Known. The tracks on "Kapnos" present a surprising homogeneity in spite of the different attitudes of the artists, which mixed their experiences in each track creating new unforeseen connections, working in pairs or in threesome on each track. The Meerkat members also joint their efforts releasing the CD, which is in fact published by Afe (Andrea Marutti), Grey Sparkle (Matteo Uggeri), Nighthawks Tapes (Paolo Ippoliti) and Ctrl+Alt+Canc (Adriano Zanni). Under these premises, "Kapnos" represents an unique effort in the swarming Italian music scene of the '00s." [label info] "...The music is excellent - a fine mixture of styles and interests from these guys. All the elements one would expect are there, the field recordings, drones, ambience, microscopic detailed sounds. Great stuff here." [FdW / Vital Weekly] www.aferecords.com	2009	€12.00
MEIRINO, FRANCISCO & KIKO C. ESSEIVA	Focus on Nothing on Focus	LP	"A unique work stemming from a studio collaboration between Francisco Meirino and Kiko C. Esseiva. Using the same source material each artist composed one side of the LP. Assembled in 2012 and 2013 from hours of multitrackrecordings using reel-to-reel tape recorders, emf detectors, piezo transducers, analogue synths and various homemade sound objects. Discover, compare, enjoy the work of these two sound artists ! High Quality 180g Vinyl with excellent sound - not at least due to the cut done by Flo Kaufmann. Numbered edition of 300 copies." [label info] www.aussenraumrecords.com "Whether it’s relevant or not I don’t know, but immediately before listening to Focus on Nothing on Focus by Francisco Meirino and Kiko C. Esseiva in order to make notes for the final review, I watched a documentary about Joy Division. The record is a 12″ vinyl black void with a black label which you might think is a precursor to the abyssal darkness contained within. In fact after Joy Division’s bleak visions born of greyscale Manchester streets steeped in rain and the bedroom’s so cold, you turn away on your side, it was a relief to enjoy some movement, vibration and a surprising selection of fleeting semi-colours. four men on a bridge Assembled in 2012 and 2013 from hours of multitrack recordings as a duo, each artist was given one side of the record to present his individual composition using the original material as the building blocks. As the first release on Andreas Unterkircher’s Ausenraum label, the black and white cover picture of electrical equipment cut up and interrupted, repeated and sliced, slid out of place and readjusted, then partially contained within a perfect circle seems an apt metaphor for the processes etched into the grooves here. she filled her time pushing the pram round Salford There is an interesting YouTube video of Meirino and Esseiva playing together as a duo in an art gallery or something similar. They are set up against a side wall on a long table next to each other. Various people are seated in the white space, others walk in and out informally. Being able to see all this taking place, the physical approach of each artist is interesting and illuminating and offers some understanding into why each side of this LP sounds as it does. tear us apart Meirino stands bent over his black boxes of plugs and wires activating switches and summoning up raw electrical bleed and grime from the insides of these dark objects. He turns a torch on and off at intervals, and the completion and termination of the circuit is heard as a visceral thud. Essevia remains seated at his desk and, amongst other things, manipulates a tape recorder thoughtfully and subtly, reacting and operating within and against the bodily groundedness of the sputtering sound shrapnel exhibiting a concentrated intelligence and sense of purpose. Whether this performance formed part of the substrata from which this LP was carved I don’t know, but it is certainly an informative document. it’s a picture of a tomb For me all Meirino’s music seems to exist in a landscape with enhanced perspective and a very remote vanishing point: In other words the sounds are stretched out from incredibly distant thuds occurring below the horizon to crackles and clicks right up against the eardrum, as if generated inside the speakers themselves independently of anything else. growling like a dog Meirino places us on a ship negotiating a sea of fluctuating plasma. Creaks and groans from the rigging and the swell of undulating static gives way to scuttling creature in the hold. Early on a filament of light, a laser emission like a bowed violin note repeats a few times as a vestige of the sun’s benediction. Later, work of some secret nature takes place. Something rattles back and forth along rails as machines hum. Excited wings vibrate against the microphone and objects drop and roll across the hard floor. People talk, but the men’s voices are rudely cut off and are no more. A crescendo of metal and tooled desolation builds from nothing to form a rattling, prison riot cacophony then… suddenly we are in some dead pond where the water (or some other analogous fluid) carries sounds from afar. Unknown denizens of this inky pool signal to each other ever more frantically, again a crescendo… Nothing… Nothing… Nothing… Run-off groove… Ian’s dead Esseiva is an artist I have never heard before. Seemingly his compositional hand is more controlled than Meirino’s and the work focuses more closely on fewer competing strands. This approach yields a completely different experience, yet obviously both sides of the disc are united by their common provenance. Differences aside each promise is fulfilled in its singular entirety. I came off the phone and went back to the table Kiko C. Esseiva pledges breath and motors and grinding gears. A ribbon of steady sound unfolds and fades just once. This is a workshop in which the instruments that make this music are being built, and the very building of them is the music itself, and after they have finished playing, the dismantling of them is also the music itself. Sheets of steel and other substances are beaten in frantic rapidity. Tiny hammers pound. Insectoid nano-mosquitoes plague the workspace. Cut. Fibrillating electricity. Cut. A buffeted wire fence with mechanical animoids squeaking and chirruping in iron filing nests. Steel wool ruffles and frazzles. Cut. Dead air. A ball bearing rolls around an uneven plane causing other objects to become infectiously agitated and inexplicably animated. An organ plays itself, just once. Vibrating glass planes, jars, flasks and light bulbs. Cut… Near silence… Readjust to the tiny flecks of vinyl crackle not being part of the whole… And yet in a way they are… It all is… Run-off groove… Click… Click… Raise the needle. unknown pleasures" [Chris Whitehead / Sonicfield]	2013	€16.00
MELT FAMAS	Serial Weather	10inch	"MUSIKZIMMER LABEL: The label Musikzimmer is based in Aarau (Switzerland) and Berlin. It was born with the idea of giving birth to music not only in a ethereal way. We want to materialise what we like. We want to produce, to touch and to spread it. It all started 21 years ago with one of the first „independent“ exhibition spaces in Switzerland, the Kunstraum Aarau. Since approximately 7 years we focus on soundart and sound related site specific interventions. And because not every manifestation finds its form in a frame work of an exhibition, we started to organise concerts and offer now a stage without stairs to concertant situations. To can those situations as long as possible we decided to cut them into vinyl. MELT FAMAS – serial weather is the first conserved situation. It will be followed by a 10“ of chained melodies by RM74. The concept is simple. 10 inch, 1 cover version and the cover sleeve is designed by an artist who does not play on but maybe with the record. MELT FAMAS: When the movement of a terrestrial object around a static point is repetitive, we talk about oscillation...When two people oscillate around several electric devices according to a nearly repetitive movement, we talk about rock‘n‘roll. At Melt Famas, during the supper, we talk about oscillations, aquatic rock‘n‘roll. Dessert comes when the table has already been cleared. In the living room, guitar screams exhort to indiscipline, and voices invite to the reconstruction of a new order. At Melt Famas‘, codes are made for others. According to the stars position, the degree of gravity and the level of caffein of the last tea, sounds meet under the fingers until dizzyness spreads, and invite us to an immobile trance. Fred Billet and Nicolas Magot, or l‘invitation au voyage with a one way ticket. FRED BIGOT: (aka Electronicat) The root of Fred Bigot‘s music is in guitar. The way he makes music is all related to the way he plays guitar, including imperfections, lo-fi sound, noise, melody and the practice of improvisation. The distorted but melodic guitar, the unquantised rhythms, the delay-heavy vocals and the buzzing rumbling 808 bass drum all became characteristic features of the Electronicat sound. His songs encompassed an array of influences in all respects - particularly glam rock, psychedelia, 60s garage rockabilly and experimental electronic music - and took it further making electronic music sound more rock n roll and vice versa. To date he has released numerous albums and singles on international labels (Holy Mountain, Onitor, Disko b, Optical Sound, Ldrr). He has produced tracks for pour Beans, Miss le Bomb, Marina Ribatski (ex- Bondo de Role), remixes for Depeche Mode, Numbers, Bretzel Göring. Fred played all around the world alongside with artists such as Felix Kubin, Stereolab, Adult. He has collaborated with numerous artists and musicians, building up an impressive resume that includes projects with musicians J.G Thirwell, Gerhard Potuznik, Khan and contemporary artists Nicolas Moulin, Anu Pennanen and Pauline Curnier-Jardin. NICOLAS MALLET: After having visited experimental and post-punk music, Nicolas Mallet turned into Nicolas Metall. Melodies in minor chords, Bach is never far. Keyboards, guitars and rhythms. He plays with Fred Bigot (Electronicat) in Melt Famas, with Marie Germinal in a rock-post punk style, he has organised events and works with artists and dancers (Nicolas Moulin, Marie Reinert, Olivier Dohin, Grégoire & Elise Charbey, Clémentine Roy). His most recent Release „ Growing Ideas Of Falling Generations“ is a Double Vinyl on Nicolas Moulin Label „Grautag Records“. „Growing Ideas Of Falling Generations, as the first double LP of Nicolas Metall, has to be heard as the psychoanalysis of the Space Odyssey computer HAL 9000. Electronic-wave music to dance on a russianÕs suburb discotheque dancefloor or to listen to by staring at the sunset , The 2nd release of the berlin-based label Grautag records“ (Grautag Records)" [label info] www.musikzimmeraarau.ch	2011	€12.00
MELVILLE	17 TV Themes	do-CD	“2 x 17 masterpieces as a soundtrack for the cinema in your head and beyond: The hammering automatic rhythm of an Elka organ introduces us to Melville's film-music masterpiece, slowly moody echo-laden guitar lines, spooky keyboard chords, honey sweet theremin-sequences and lascivious female voices add to a "Blues noir", melodic and harmonic fireworks of references build up and make clear where we are. The cineastic escapades of the 50s and 60s and their heroes salute you: Alain Delon, Brigitte Bardot, Jean Paul Belmondo, Lino Ventura, Gina Lollobrigida, Sophia Loren, Michel Serrault… all these stars are cast for this sparkling masterpiece on celluloid, which is neither B-movie nor blockbuster, but rather builds up to something new each time you listen to its soundtrack. Melville sets straight limitations to his genre, but he gives his listeners the freedom to choose: What used to be a horror movie in the vein of Dario Argento yesterday might be the diary of a psycho killer in the 50s in moving pictures. Melville produces soundtracks, soundtracks for the cinema in your head. He invites each listener to direct his own movies, to trip on Melville's soundwaves depending on what mood you are in. While film connoisseurs will be thrilled and find clear cineastic references, the living room of the average listener will suddenly smell of gun powder and lead while a francophile gangster blonde will aspirate erotic confessions. The second CD of the album is an image of the first one. It contains the exact order of tunes as the first CD but interpreted and remade by artists chosen by Melville. These artists come from all musical genres, ranging from earthy blues to avant-garde electronics and metal: The (ethno-)pop-project Binder&Krieglstein from Graz follows the Viennese avantgarde composer Jürgen Hofbauer, Reflector's doom laden metal stands next to Peter Plessas' innovative electronics, "New York-certified" theremin godess Dorith Chrysler and some acts from the avant-garde label "tonto", blues guitarist Christian Masser is followed by the minimal electronic freak marufura fufunjiru and Mego-darling Dr. Nachtstrom. An opulent array of innovative artists which clearly appreciate the genius and the brilliancy of the original.” [Soul Seduction]	2005	€16.00
MENCHE, DANIEL	Radiant Blood (SOLD OUT)	10inch	SUBSTANTIA INNOMINATA ist eine neue 10”-Vinyl-Serie von Drone Records mit neuem Konzept. Mit “Unbenannter Substanz” ist das “Unbekannte, Un-erkennbare, Unergründliche, Un-Identifizierbare“ gemeint, das hier als Inspiration und Themenfokus für die Künstler (akustisch wie visuell) dienen soll. Das, was über unsere Wahrnehmung hinausgeht oder vielleicht nur unbewusst wahrgenommen werden kann. Das was man nicht denken kann. Das Unbekannte in uns und ausserhalb unser erkennbaren, gewohnten Welt. DANIEL MENCHE macht den Anfang mit zwei Stücken: Komprimierte Energie. Dichte. Antreibende Kraft. Spannung. Pulsierendes Blut. Das Unbekannte als Teil einer grossen Energie, die auch in der Musik steckt? Die grossartige ARTWORK für die SUB-01 stammt von ROBERT SCHALINSKI (COLUMN ONE). Braun-schwarz marmoriertes Vinyl in einer Erstauflage von 500 Stück. “Substantia Innominata” is the brand new release-series from Drone Records. We are proud to present this as a 10” VINYL series along with subsequent re-releases on CD. This new series doesn’t focus on a special concept or ideology regarding the music, but on a certain theme. The theme for this 10” series is based on “The Un-known, The Un-nameable, The Un-speakable, The Un-thinkable, etc.: Various aspects related to “The Unknown”. Basically the grey matter (psychic or physical, which are bound to result the same) surrounding us / within us, but can’t be understood or recognized through the normal senses (though some may perceive it on a subconscious level). We could name it “The Unconscious”. The chosen name for this series, “Substantia Innominata”, was inspired to the fact that this Latin name represents a certain region of the brain which has unknown functions and remains a mystery for its role and existence. Therefore this name reflects well the intense fascination for this impalpable concept of “the unknown”. The invited artists for this series were asked to work around this theme, to let themselves be inspired by its abstraction. The artwork for this series will be created by the various visual & graphic artists. All in full-colour or silkscreen covers. The 10” vinyl pressings will come in an edition of 500 copies for each title.” [Basic Concept] DANIEL MENCHE begins the series with two pieces: Compressed energy. Density. Driving force. Tension. Pulsating Blood. The Unknown as part of a bigger energy, that is also part of the music? The great artwork for SUB-01 was made by ROBERT SCHALINSK (COLUMN ONE). Brown-black marmorized vinyl in a first ed. of 500 copies. OUT 15. DECEMBER 2005 ! Note: this 10" plays on 45 rpm !	2005	€12.00
	Soundtrack for the Film HOPE AND PREY	mCD	Soundtrack zur Film-Installation “Hope and Prey” von VANESSA RENWICK, nur 250 Stück gibt es über mailorder weltweit, der Rest wird bei den seltenen Aufführungen verkauft !!!!! “.. As with all of his recordings, “Hope and Prey” offers an intensely powerful and beautiful listening experience. Surprisingly, Daniel Menche’s work has rarely been heard in film or television productions. Although his compositions have been used in short films, this is the first time he was commissioned to create the sound for a new film, in this case, “Hope and Prey” by Vanessa Renwick. The soundtrack, presented here, is a 20 minute composition of powerful and graceful music that richly captures the ferocious nature of Vanessa Renwick’s film. Both artists are based in Portland, Oregon, and are individually very active in the underground art scene. Their collaboration is an engrossing fusion of visceral sonics and powerful ethereal imagery that has been performed in live situations as well as gallery installations. “Hope and Prey” will never be officially released as a film since it is an installation for 3 projectors and can only be experienced in the environment it was designed for. Yet this soundtrack release is available in a limited edition of 500. Half of the pressing will be sold wherever Hope and Prey is presented, and the other half will be offered through normal distribution channels. With an extensive discography and a long record of highly regarded performances nationally and internationally, Daniel Menche’s music has reached a wide spectrum of listeners across many genres.” [press release]	2004	€7.50
	The Soaring	CD	"Over the course of Daniel Menche’s three-decade career, the esteemed experimental composer/musician has explored the textural dimensions and emotional weight in an endless variety of sound sources. On his 2008 release Cerberic Doxology, Menche collaborated with Joe Preston (Thrones) by embedding his colleague’s rich singing voice into his layered composition. “I realized that the human singing voice contains the most dynamic harmonics and stands on top of that list of true music purity,” Menche said of the experience, and he began investigating the option of composing a large-scale piece centered on vocals. The initial vision for The Soaring was to commission four classically trained vocalists to follow his notation and later manipulate the voices into a sprawling ambient record, though Menche came to realize that the piece held more emotional resonance when he collaborated with like-minded artists. He enlisted Preston and Faith Coloccia (Mamiffer, Mara) to provide the vocal source material. “It struck me that a baritone and a falsetto voice of the two would get the job done—to make an hour-long piece of continuous music that melts gravity and gives the sense of soaring,” Menche says. Given that Menche’s last release on Sige Records was titled Melting Gravity, it makes sense that his latest like-minded effort is named after his other sonic intent. Rounded out by bass cello and run through Menche’s masterful production techniques, The Soaring is a sensory experience of nitrous-grade drones and helium-weight ambience. Beyond its sonic delights, it also serves as a testament to friendship and the power of mutual instincts to create beauty that goes beyond words." Faith Coloccia: Voice Joe Preston: Voice Daniel Menche: Bass Cello Recorded on Vashon Island and in Winlock, Washington throughout the Autumn of 2019 Mixed and mastered in Portland, Oregon https://sigerecords.bandcamp.com/album/the-soaring	2020	€13.00
MENCHE, DANIEL & MAMIFFER	Crater	CD	"There are profound forces that enmesh the minds, bodies, and souls of these venerable artists. Mamiffer unfurls darkened hymns and sprawled abstractions authored by Faith Coloccia in partnership with Aaron Turner. Daniel Menche stands as a stalwart noise technician of many years, with his blood and sweat permeating all of his adrenaline fueled recordings and performances. Collectively, they design sound to slip between the formally defined practices of metal, noise, song, and drone, offering a phenomenological essentialism that amplifies and exaggerates the earthly ele- ments of water, moss, soil, and fire. This can be a sonic transubstantiation of field recordings and in situ object documents from Coloccia and Turner’s home on Vashon Island, Washington; and this can be the aestheticized forms of mythic poetry cast through austere melodies for guitar, piano, electronics, and plainsong chant. The communal production took four years to develop with a few performances that spilled forth. Menche, for one, abhors the notion of collaboration, preferring to qualify this as a documentation of their friendship. “’Collaboration” sounds so... business like or formal or something of a technical term. We’re just friends making acoustic sounds together and recording nature with our hikes together. Then we eat pizza and laugh.” This relational intimacy and interpersonal development brings an understanding of each other’s strengths, and from that understanding, the conviction to extract out the very best that each has to offer. From Menche’s perspective, Coloccia projects a nearly religious capacity for harmony and melody; Turner has grace and fury in his DNA; And Menche quips about his own work: "I’m a chainsaw artist making those touristy statues of grizzly bears but instead of wood I’m using sound.” Ellipses of guitars and piano sparsely populate this album. Upon appearance, these forms are progressively dissolved into a dislocation of machined noise and wintry drone, abraded with the tactility of stone and iron. It can become difficult to determine where the province of negation ends (e.g. emptying the musical structure as a simulacrum of the sublime) and that of accretion begins (e.g. layer upon layer of noise, pressure, and volume to feed a collapse). In this liminal iceblink, the work of Mamiffer and Menche is resoundingly heroic, tragic, haunted, cold, and beautiful. To Menche, though, “this is a very humble recording. When we’re old and grey and come across this in a old dusty box, we’ll have a warm smile. Maybe we’ll play it on our death bed?!?!" [label info] sige.bigcartel.com "Daniel Menche, Faith Coloccia, and Aaron Turner have been close friends for quite a long time now, with this album emerging as the first fruits from their communed relationship. And as collaborative projects go, Crater is a superb document showcasing how each of these equally talented folks in disparate facets of the dark arts (noise for Menche, hallowed / haunted plainsong for Coloccia, and heroic riffage from Turner) can work so effortlessly and gracefully. Glacial harmonic drones expand from field recordings, church organs, abraded stone & steel, and guitars only to be disrupted by heavily hammered piano melodies that in turn are gristlized by the collective noise strategies, machines, and snowstorms. Alternately, meditative and explosive, imposing and rapturous. Brilliant through and through." [Aquarius Records]	2015	€16.00
MENTER, WILL	Always Sound	BOOK / 3 x CD	200pp Book with 3 Audio CDs. ALWAYS SOUND A 200 page book of photographs, texts and documents, including three CDs, drawn from the soundworks, but recomposed as three related but internally coherent compositions. WILL MENTER A contemporary of Richard Long and Andy Goldsworthy, Menter is one of a handful of sound artists with strong links to the land art movement. Now best known for installations that explore the untransformed sounds of natural materials, wood, slate, water, ceramics, stone and air, he also collaborates regularly on cross-platform projects with dancers Aurore Gruel and Mure Natale, and ceramicist Jane Norbury - with whom he has developed many of his sound sculptures and performances since 2000. He came to this work in steps: between 1975 and the early ‘80s, he was a driving force behind the Bristol Musicians’ Co-operative, investigating novel approaches to improvisation and varieties of multimedia collaboration; within a decade, his work had extrapolated to the point at which his music and sculpture had become inextricably entwined. Intermediate projects included Cân Y Graig (Slate Voices) which explored the world of slate, and the quarries of North Wales (also featuring the first extensive use of his slate marimbas); and Strong Winds and Soft Earth Landings for which he worked with a group of Zimbabwean artists, extrapolating the sounds and principles of the mbira. In 1998 he relocated to France, where he still lives and works. Between 2000 and 2003 he released a series of four solo CDs, mixing the sounds of his sculptures with environmental recordings and musical performances; his fifth CD, Song Sculptures (2004) was a suite of songs written for Sianed Jones, arranged for eight sculptures, percussion and contrabass; and a sixth accompanied his book, Bits of Wood, published in 2007. “The book part of Always Sound brings together my work of the last ten years in a way that examines the unifying ideas and motivating forces as well as the nuts and bolts of individual projects and installations. The accompanying CDs have been assembled from in situ recordings of my installations and sculptures, musical performances, studio edits of live recordings and the sounds of nature. Each is realised as an integrated whole in which the sequence of pieces is as important as the content of each individual piece, and each has an elemental theme: CD1 - Land Sea Air; CD2 - Night Day and CD3 - Gravity Breath. Working across different art forms has come naturally to me and I don’t see it as a big thing. Nevertheless, I do sometimes forget how habit- and discipline-based our appreciation of art is. Without thinking about it, we listen to music and natural sounds differently, finding them beautiful in different ways. But sometimes it’s interesting to listen to music as if it were natural sound and natural sound as if it were music. We can find and then feed different areas of ourselves that way, if we have the patience”. [label info] www.rermegacorp.com	2013	€30.00
MENUCK, EFRIM MANUEL	High Gospel	LP + CD	180g Vinyl inklusive CD + limited edition Poster! EFRIM MANUEL MENUCK ist am besten als Mitbegründer von GODSPEED YOU! BLACK EMPEROR, als Mastermind der Kammerpunk Gruppe THEE SILVER MT. ZION und als Mitglied der VIC CHESNUTT BAND bekannt. Mit dieser Band hat er insgesamt 13 Alben aufgenommen. Dazu hat er das Montrealer Hotel2Tango Studio mitgegründet und mit so verschiedenen Künstlern wie BRITISH SEA POWER, CARLA BOZULICH'S EVANGELISTA, WOLF PARADE und GRANT HART gearbeitet. Fans von MENUCK kennen sich mit seinem höchst eigenständigen und ständig weiter entwickelnden Zugang zur elektrischen Gitarre aus - eine einzigartige Kombination aus kurzen und langen Analogdelays, krasser Kompression und Wolken aus Pink Noise Verzerrung. Entstanden sind die Songs in den letzten anderthalb Jahren und lassen einen tiefen Blick zu in die Seele des Mannes, der nie versucht hat, persönliches, privates Leben von künstlerischer Äußerung zu trennen. Tief beeinflusst von den Emotionen, die ihn während und nach der Geburt seines Sohnes Ezra begleitet haben und geprägt von seiner Liebe zu Jessica Moss (die bei ASMZ auch Violine spielt) pendeln die Stücke zwischen experimenteller Klangentdeckung und Verneigung vor Melodien hin und her. Ein wunderbares Album! 180g Vinyl includes limited edition poster + CD Efrim Manuel Menuck is best known as co-founder of Godspeed You! Black Emperor, leader of agit-chamber-punk group Thee Silver Mt. Zion, and member of the Vic Chesnutt Band (2007-2009); he has a combined thirteen albums under his belt with these three groups. He is also co-founder of Montreal's Hotel2Tango recording studio, with dozens of recording, arranging and guest playing credits to his name, for a list of artists as diverse as British Sea Power, Carla Bozulich's Evangelista, Wolf Parade and Grant Hart. Fans of Menuck will be well versed in his highly original and constantly evolving approach to the sound of the electric guitar - a unique combination of short and long analog delays, biting compression and blown-out clouds of pink noise distortion. His recasting of various folkways through the lens of uncompromising punk-rock is also well-documented in the discography of Thee Silver Mt. Zion, with that band's use of poetically political group singing set against a hybrid of damaged blues, waltz, klezmer and folk instrumental tropes. Perhaps less appreciated is Menuck's work as an inventive signal-bender and soundsculptor, with an overriding commitment to analog processing, tape manipulations, reamping and other iterative strategies. Efrim's aesthetic and techniques remain about as diametrically opposite to the dominant Pro-Tools and DSP culture as it gets for someone working in contemporary multi-tracked rock composition and production. https://efrimmanuelmenuck.bandcamp.com/album/plays-high-gospel	2011	€23.50
MERZBOW / ASKEW	Level	LP	"The first in a series of concept split albums, LEVEL brings together two artistic audio projects on one unique vinyl-only release. Side one features MERZBOW, one of the most prolific and respected artists in the world of experimental noise. Side two features ASKEW, a collective of artists, musicians and producers from the Rustblade label headed by Justin Bennett (Skinny Puppy, Bahntier) and Jeff “Squigg” Smith (Ohgr, Hate Dept). Both projects embrace a sonic philosophy based on free experimentation and improvisation utilizing analog instruments such as modular synthesizers, as well as environmental audio samples and unique noise producing objects. The results are a wall of sound and noise that move the listener through emotional and cathartic sonic waves. A real treat for lovers of free and structured noise, and those in search of sonic extremes. 40 minutes of Pure Noise." www.rustblade.com/product/level-limited-vinyl/	2015	€15.00
MERZBOW / RAVEN / DAO DE NOIZE	Animal Liberation	CD	"Animal Liberation features 3 characteristically powerful tracks of varying harshness and noise intensities with it’s theme strongly centered on animal rights and its firm stand against animal abuse. The journey into the audio slaughterhouse begins with 2 harsh noise tracks presented by prolific Japanese noise artist Masami Akita, otherwise famously known as Merzbow and Serbia’s harsh noise artist Raven (or Djordje Miladinovic), who is highly recognisable in the harsh noise circuit as anti-war as well as a strong supporter of animal and human rights and conscious environmentalist. These two violently painful tracks are complex with a high level of hypnotic and sonic energy. The message of what these artists stand for are uniquely expressed by heavy layers of organic sounds, high frequency screeches and low level drones that almost sound like animal screams and grunts in the abattoir. This journey of butchery finally comes to an end with a closing ambient track from Ukraine’s noise/ambient artist Dao De Noize (Artem Pismenetskii). The tranquil hums overlapped by murmuring soundscapes with the background beating of hearts and animal bellows, bleats and cackles complement and complete the album. These 3 highly emotive tracks successfully propagate the intended message through a unique display of artistic sonic expression that is now one of the greatest social change movement around the world." https://4ibrecords.com	2015	€13.00
MERZBOW + DEDALI	L'Age d'Or	LP	"L’Age D’Or is the collaborative album by prolific extreme Japanese-Noise pioneer Merzbow (Masami Akita) and Italian experimental sound artist Dedali (Alessandro Bosello), who birthed the project in 2007. These 2 tracks combine the unique and creative characteristics of each individual artist, resulting in an album of densely treated concrete electronic sounds of Dedali, and over-layed by the harsh noise elements of Merzbow. This release displays the constructive culmination of both artists working seamlessly together to produce an album that builds up at different junctures the calming ambient drones, to the interweaving of apocalyptic and tormenting soundscape of claustrophobic resonating frenzy."	2018	€18.00
MERZBOW + HEXA	Achromatic	LP	The esoteric noise duo known as HEXA is the sonic union of Xiu Xiu’s focal point Jamie Stewart and sonic provocateur Lawrence English. Forged out of a mutual interest in exotic birds and the decaying charms of the post-industrial age, their collaboration explores the physicality of sound and its abilities to infiltrate and occupy the body. Their collaborative work has been described as being possessed by cascading low frequency pulses and tectonic plates of sound, suspended in cavernous cathedral-like spaces. Legendary noise artist Merzbow needs no introduction, given his prolific output and notorious experiments within the realm of human endurance and audible extremes. While Merzbow has remained a solemn figure within the canon of noise, and he is no stranger to the members of HEXA. Jamie Stewart and Merzbow worked together as a duet on a collaborative Merzxiu LP in 2015. On the other side of the spectrum, Lawrence English has curated numerous concerts for Merzbow across his native Australia. A partnership of these three artists was born out of the collective goal of framing their work against particular sonic and visual architectures. HEXA’s initial utilization of this idea, Factory Photographs, was a commissioned piece to soundtrack the photography of film maker David Lynch. HEXA approached Merzbow with the idea of a collaboration that sought to collide their particular approach to physical sonics against Merzbow’s resoundingly ontological noise practice. The result of this collision turned into a full length album, aptly titled Achromatic. Focus laid on the severe reverberation of relative noises, brandishing extreme frequencies familiar only to Merzbow and coupled by HEXA’s brutalist pulsation. Each side of the album is produced and mixed by the other, making their audio interpretation of Achromatic a sort of reverse exquisite corpse. A true snapshot afterthought from the decay of the modern age. Mastered by Lawrence English and cut by engineer Josh Bonati, the vinyl release is packaged in a minimalist styled 24pt stock reverse matte LP jacket designed by Joe Stewart.	2018	€23.00
MERZOUGA	52°46’ North 13°29’ East – Music for Wax-Cylinders	CD	"The World’s Most Moveable Armchair Erich Moritz von Hornbostel was an „armchair ethnologist“. Due to his bad health the musicologist was unable to travel to faraway countries. Instead he sat at his desk in the Dorotheenstraße in Berlin and received the world through his phonograph. On from 1900 the world’s music arrived at his office in the form of more than 16.000 wax-cylinder recordings from all over the planet. Due to an edict by the Prussian Emperor all German trading as well as scientific expeditors were bound to travel with a phonograph and send their recordings to Berlin. Today we might put it that way: Hornbostel was in charge of the biggest field-recording project of all times. In his case being a stay-at-home was definitely an achievement. His immobility gave Hornbostel the chance to develop a completely new perspective, an unprecedented acoustical bird’s eye view, and made him the founder of a new discipline: comparative musicology’s aim was to “unveil the dark and distant past (…) and to extract the timeless and the general from the abundance of our present; in other words: We want to get to know the historic and the basic esthetic principles of musical art.” (1) Approximately 100 years later Hornbostel’s acoustic present has itself become a dark and distant past. To our ears the 16.000 wax-cylinder recordings of the Berlin Phonogram-Archive sound like treasures from a long lost world. These treasures are not only raised by researchers but increasingly also by artists. The current archive’s management is generously granting them access to the recordings that have been digitalized over the past fifteen years. Thus Eva Pöpplein and Janko Hanushevsky (aka Merzouga) have become fellow armchair-travelers. They bring along a lot of experience, which they collected as heavy-duty field-recordists on intensive sound-expeditions through India and South-East-Asia. („Good Morning, Rickshaw“ – Deutschlandradio Kultur 2008; „Mekong Morning Glory“ – Deutschlandradio Kultur 2009 / Gruenrekorder 2011). Now they encompass the sonic landscape of the Phonogram-Archive with the same musical sensitiveness that can be found in their previous works. Just like Hornbostel the two are genuinely interested in something timeless, something general: the uniquely beautiful human ability to play with sounds and structures. Janko Hanushevsky integrates his electric-bass improvisations into the historic wax-cylinders’ cracks and scratches. And Eva Pöpplein sparingly applies electronic effects in order to distill precious essences from the sonic material. The result is a musical position-reckoning between the past and the future of sound-recording: Located at 52°46’ North and 13°29’ East, in the Ethnologisches Museum Dahlem, is the world’s most moveable armchair." [Marcus Gammel, Deutschlandradio Kultur] www.gruenrekorder.de	2013	€13.00
METAYER, ROXANE	Adage Vestige	LP	Roxane Métayer (born 1992) is a French musician and artist based in Brussels. Through different mediums and materials such as beeswax, clay, or soap, her visual work stages a fictional fauna and flora. Guided by an organic imagery, she draws natural environments she has experienced, to create evocations of them. She's also producing videos, where the sound holds a central place. Collages composed of sound recordings made in the field, sounds that she produces herself with different string and wind instruments as well as her own voice are some of its constituent elements. Between folk and experimental music, her musical project is made of sound recordings made in nature, violin, wind instruments, percussion, and his own voice. Her albums have been released by Kraak label, Morc, Primordial Void, Wabi-Sabi tapes, Marionnette Label and Matière Mémoire. Aside her solo practice, Roxane Métayer collaborates with other artists, choreographers and dancers. Composed in 2021 in Brussels by Roxane Métayer Mastered & cut by Frédéric Alstadt Cover hatching by Roxane Métayer (2016) Graphic & layout by Cédric D'hondt https://roxanemetayer.bandcamp.com/album/adage-vestige	2024	€23.00
MICHAEL, DAVID & SLAVEK KWI	MMABOLELA	do-CD	" ‘Sonic Mmabolela’ is a 2-week workshop/residency for professional and semiprofessional sound artists and composers with previous experience in the area of sound experimentation and field recordings. It takes place at Mmabolela Reserve, in the Limpopo province of South Africa, right at the border with Botswana. It involves field work, studio work and theoretical/discussion presentations. The workshop/residency has a special focus on creative approaches to the work with field recordings, through an extensive exploration of natural sound environments. It does not have a technical character but is instead conceived and directed towards the development and realization of projects of sonic creation by the participant artists/composers with the field recordings gathered." [Francisco Lopez website] "Note from unwritten diary of David: 3:45 AM. Time to get up. The Bushveld is already awake. Slávek and I are both dragging a bit, rushing to get out the door and deploy. After almost two weeks of nonstop recording, we are both tired and a little homesick. At this point in the residency we have already found a dependable dawn recording location in a dry creek bed just far enough away from Weederdooper homestead so that our microphones will not pick up breakfast activities and just close enough for us to make it back for a nap before the morning field session. In a strange way this location reminds me of another of Slávek’s favorite recording spots on a small tributary flowing into Lake Mamori in Brazil. Slávek and I share a room at Weederdooper, which makes these dawn sessions simple. Our equipment too tends to share space in locations we scout together during many of the field sessions. We each now have many recordings of the exact same events, but from slightly different perspectives. The dry river bed at Umzumbi, the hippos at Mmabolel Rock, the bridge to Botswana, the watering holes. Perhaps when we get back home we will make a CD together. CD 1: Slávek Kwi (Artificial Memory Trace) 01: Usvit (Dawning in Dry Riverbed) 02: Windpeckers 03: Lament of Longhorn Beetle 04: Subaquatic Insects, Terrapins, Fish Munching on Algae 05: From Perspective of Wasps 06: Baboons 07: Mouchy 08: Hippo-pota-muses 09: Noc Pt1 (Toads, Bats [via heterodyne detector], Xmas Beetles) 10: Transition (Xmas Beetles close-up) 11: Noc Pt2 (Frogs, Bats [via microphone], Insects) 12: Noc Pt3 (Cicadas, Frogs, distant Baboons) Excerpts: Track 01 Track 04 Recordings made by Slávek Kwi in November 2013 at the Mmabolela. Composed in between February and June 2014 in Beech House, Ireland. Trk 01-09 was originally constructed as multichannel piece titled “AfriKaa!” dedicated to children with autism. The Sound Expedition was funded by The National Concert Hall in Dublin; very special thanks to Ciara Cuffe and Simon Taylor for kind support. Extended thanks to David for making this publication possible. CD 2: David Michael 01. Slávek’s Dry Creek 02. Midnight on the Limpopo 03. Hippopotamuses at Mmabolel Rock 04. Umzumbi with Baboons, Bats 05. Duets 06. The Bridge to Botswana IV 07. Afternoon with an Impala Carcass Excerpts: Track 4 Track 6 Recordings made by David Michael in November 2013 at the Mmabolela. Produced in Sleepy Hollow, New York during various sessions in 2014. 19 Tracks (157′16″) Double CD (500 copies)" www.gruenrekorder.de	2014	€16.00
MICROMELANCOLIE & STROM NOIR	49°05'19,3	CD	"The album of the enigmatic title "49°05'19,3"N22°34'04,0'E" is the result of the collaboration between two artists signed to Zoharum: Emil Mat'ko aka Strom Noir from Slovakia and Robert Skrzyński aka Micromelancolié from Poland. Both have two albums and participated in several compilations released on our label on their account. Their collaborative album is a piece of work suspended between two stylistics penetrated within their own solo projects, and at the same time it is perfectly complementary. On one side we have the guitar/electronic passages so characteristic of Strom Noir, and on the other the sonic structures prepared from defects and scraps that has been explored for several years by Micromelancolié. Two untitled compositions float slowly and are contemplation of places a bit distant to urban civilization. "49°05'19,3"N22°34'04,0'E " is a sound postcard from the mysterious place hidden in the title. Where is it? The answer is in the music itself, and in the coordinates composing the title of this collaborative album." [label info] www.zoharum.com	2016	€12.00
MIEVILLE, EMMANUEL	Ethers	CD	Slowly but o-so-surely, Emmanuel Mieville is building an impressive body of work, where each new album seems to make the previous one pale in comparison. And the music press would be wise to catch on to him. The man is discreet and unassertive, so is his music, but he – like it – cannot be dismissed as just another proponent of the field recording. For Mieville, music is some of the most spellbinding art for the ear out there in the aether. "Ethers" is Mieville's second album for Baskaru, and though the previous one certainly stands the test of time, this new opus pushes the bar higher, much higher. In the composer's own words, "Ethers is an attempt to give an earthy quality, a dense texture to drone music, to lower it from the 'skies'." Mieville first trained as a sound engineer, and then studied musique concrète at GRM. He grew up listening to creative radio programs and embraced field recording as a form of art. His latest works fully realized a synthesis of all these elements: the attentive ear to one's surroundings, the abstract approach to sound, the sense of drama that makes a field recording composition take life. Mieville has worked with Buto dancers, video artists, and like-minded musicians like Eric Cordier, Guido Huebner, and Benjamin Thigpen. After appearances on compilations albums, he released two CDs in Malaysia (on Herbal Records and XingWu), followed by his Western full-length debut "Four Wanderings in Tropical Lands" on Baskaru in 2011. Since then he released two thematic albums: "Buddha – Anima – Asia" (Obs*, 2012) on Buddhism, and "Concret-Sens" (Crónica, 2014), a homage to early musique concrète. www.baskaru.com "The last time I heard something from Emmanuel Mieville was in Vital Weekly 803, and that was his previous album for Baskaru. Mieville, a trained composer from GRM uses a lot of field recordings in his music, which he treats into music. I am not sure how Mieville works in creating his music, but it could very well be that he has many treatments of the same sound source and which are later stuck together and crafted into a piece of music, with all the subtle changes possible, which Mieville can choose from when doing this. I might very well be entirely wrong of course. His music can be compared to that of Whetham (or vice versa, but that's not the order I am hearing these releases): quite closed off blocks of sound, but somehow the work of Mieville sounds more coherent than Whetham on his new release. It also seems to be less closed off, with a bit more air in between the various treatments that he uses in his music. Whetham's music seems hermetically closed. There is fine vibrancy in the pieces by Mieville, shifting back and forth, ignoring strict classical rules of composition. Excellent release." [FdW/Vital Weekly]	2015	€12.00
MIEVILLE, EMMANUEL & ERIC CORDIER	Dispositif: Canal Saint-Martin	CD	Ähnlich wie auf der "INSCAPE" CD von ERIC LA CASA und J.-L-GUIONNET werden auf DISPOSITIF "Orts-spezifische Aufnahmen" von den akustischen "Aktivitäten" eines grossen Gebäudes in Echtzeit zusammengeführt (mit 30 Mikrophonen, die an verschiedenen Plätzen eines Kulturzentrums in Paris befestigt waren). Daraus entstehen unglaublich komplexe und vielschichtige Field Recordings, vom reinen Objektknirschen bis hin zu menschlichen Lautäusserungen und herüberwallenden Proberaum-Klängen, das ganze wird zudem auch noch bearbeitet & effektiert... "Many individuals are unable to properly listen. Dissecting noise until harmonic components are found and deployed, detecting a logic in whatsuperficially amounts to sheer din, elaborating contrasting messages and different impulses until their core is reached. Sound artists Mieville and Cordier tend a helping hand to those who want to learn a bit about the process of active listening with this project, a real-time composition that took its form in 2005 at the Centre d'animation Jemmapes in Paris' City Hall. Placing thirty microphones all over the place, which comprises various halls and offices plus "several floors of rehearsal rooms for dance, music, theatre", the two authors originated a sketchy yet efficient acousmatic pieceinterspersed with laptop-triggered "sonic objects" and movements from the surrounding life and activities, with emphasis on the urban landscape and a pretty evident human participation. To this, a few sounds captured in Normandy were also added. We hear people chatting, singing and whistling. In the background, a marching band or the wheezing currents of familiar hullabaloo filtered by a ventilation duct appear, rendering the whole as a flanged reproduction of the buzzing bustle of a large amount of beings whom we can't distinguish singularly but all contribute to the final patchwork. The work is a valid example of what can be achieved through the exploitation of subjective approaches to perception and, although a tad predictable in some of its parts, deserves careful consideration." [Massimo Ricci] www.xingwurecs.com	2007	€13.00
MOEBIUS & TIETCHENS	same	LP	"Erste Kooperation der beiden Elektronik-Avantgardisten seit 1976: Mit Asmus Tietchens und Dieter Moebius haben zwei Künstler zusammengefunden, die zu den ganz Großen der deutschen Avantgarde-Elektronikmusik gehören. Beide sind seit den 70er- Jahren dabei, Moebius als Mitglied von Kluster/Cluster und Harmonia sowie solo und in zahlreichen Kollaborationen (u. a. Brian Eno, Mani Neumeier); Tietchens fast ausschließlich als Solokünstler, anfangs in den Bereichen elektronischer und konkreter Musik, später dann vornehmlich im Gebiet der abstrakten Geräuschmusik. Das vorliegende Album ist ihre erste Kooperation seit 1976. Mit ihm lösen Moebius und Tietchens ein Versprechen ein, das sie sich vor 35 Jahren gaben: "Wir müssen mal eine Platte zusammen machen." 13 Stücke transportiert das Album, 13 Ideen, wie sie heterogener kaum sein können. Kein Stück ähnelt dem anderen: Von der hingehauchten Skizze bis zu derb zupackender Rhythmik ist so gut wie alles zu hören, was die beiden Altmeister der E-Musik in ihren Arsenalen haben. So klingt zeitgenössische, neue Musik. Das Vinyl erscheint mit Download-Code. // About the musicians: With Asmus Tietchens and Dieter Moebius, two artists counting among the greats of German avant-garde electronic music have come together. Both have been active for well over thirty years: Moebius (since 1970) as a member of Kluster/Cluster and Harmonia, as well as solo and in numerous collaborations (Brian Eno, Mani Neumeier, Conny Plank, Mayo Thompson and many more), and Tietchens (since 1976) almost exclusively as a solo artist, beginning in the fields of electronic music and musique concrète and later mainly in the realm of abstract music. “Moebius+Tietchens” is now their first collaboration in 35 years. With this album, Dieter Moebius and Asmus Tietchens fulfill a promise that they made 35 years ago. That is, in 1976, when the five musicians of Liliental completed the recordings for their eponymous album (released 1978) and again scattered to the winds, Moebius called out to Tietchens from the already moving car: "We have to make a record together sometime." At least that is the report of an ear-witness. Whether or not it's true… In any case, both decided in 2011 to record the album which is now to be released. Moebius (Cluster, Harmonia), since the early years of Cluster, has neither lost his curiosity nor his eagerness for experimentation. On the contrary: He has downright cultivated them. Tietchens is not only a true aficionado of the Cluster's music and friend of the duo, but has also released countless albums of electronic music and musique concrète since the 1980's – like Cluster, initially on Sky Records – then later only in the field of industrial and abstract music. Their album may come from out of the blue, but the large amount of overlap in the music of both artists made it a forgone conclusion to finally make good on the aforementioned promise. Thirteen pieces carries the album. These are thirteen ideas that could hardly be heterogeneous – no two pieces are similar. Moebius and Tietchens show us what they are capable of together. From the rough sketch to densely gripping rhythms, one can clearly hear just what these two old masters of electronic music have in their arsenals. This is not a result of the routine that comes with so many years of experience, nor a thin portion of tired old recipes for success. Other than for a few faint echoes of a bygone era (perhaps as a sentimental reminder), Moebius+Tietchens“ is an album that could only emerge from the here and now. It is contemporary, new music. Unfortunately, this time there was no ear-witness as Moebius and Tietchens said goodbye after finishing these recordings. So we do not know if they made a new agreement similar to the one from 35 years ago. Let's hope so." [label info]	2012	€18.50
MOGARD, ABUL & RAFAEL ANTON IRISARRI	Impossibly Distant, Impossibly Close	LP	Abul Mogard and Rafael Anton Irisarri's partnership unfolded serendipitously at the sold-out opening of the SoundSet Series at Madrid's Condeduque cultural center in 2023 -- a program that featured performances by legends such as Autechre and younger artists like Caterina Barbieri and KMRU. The duo's encore that evening, recorded for Spain's Radio 3, resonated deeply with the audience, igniting a creative spark that propelled them to work remotely in their respective studios. At the heart of their effort lies a delicate balance of restraint and innovation, evident in the live concert track "Waking Up Dizzy on a Bastion." This piece, inspired by their musical sensibilities, serves as a testament to their shared vision and mutual respect. Utilizing a familiar parallel chord progression, the track builds from a simple melodic motif played live on synths that transforms into a call-and-response interplay between Mogard's synth lines and Irisarri's bowed guitar loops, creating a dialogue-like interaction between the musicians. Building upon the energy of that live performance, Mogard and Irisarri crafted "Place of Forever," a companion piece that combines Mogard's Farfisa organ and modular synthesizers with Irisarri's signature guitar tones and looping techniques at his Black Knoll studio in New York. Starting with a somber and minimal tone, the track gradually evolves, unfurling layers of deep bass tonalities draped in blissful gauze as it progresses during its 17-plus minute duration. The resulting album exudes a profound sense of alchemy, effortlessly weaving intricate soundscapes that feel simultaneously faraway and intimate. The cover artwork, by Marja de Sanctis, depicts a vase sculpture made of unfired clay. Created and photographed by herself, it reflects lights and shadows of fragility. Daniel Castrejón's design responds to the image transforming the shape of the vase into lines and empty spaces. Through these joint pieces, Mogard and Irisarri have created a work that encapsulates the dichotomy inherent in its title: Impossibly Distant, Impossibly Close. ############## https://www.cyclicdefrost.com/2024/04/abul-mogard-rafael-anton-irisarri-impossibly-distant-impossibly-close-black-knoll-editions/ "It was only a matter of time for Rafael Anton Irisarri to start a label. With a remarkable solo trajectory, enriched by his mastering duties for all sorts of projects and constant collaborations with other artists, either live or in the studio, he stands as a distinguished and particular voice in contemporary electronic music. The new label, Black Knoll Editions, had its first reference back in November with a remaster and vinyl debut of Irisarri’s Midnight Colours, originally released on cassette in 2018. And this month sees their second feature with a joint effort with Abul Mogard, the Italian musician -also a distinctive voice in immersive electronic music- with whom Irisarri performed live for the first time at the beginning of last year. Impossibly distant, impossibly close consists of two compositions with enough time to stretch into the deepness of both artists’ sound explorations, reaching moments of reflection and splendorous beauty. ‘Waking Up Dizzy On A Bastion’ is a live recording during their presentation at the SoundSet Series in Madrid’s Condeduque cultural center in 2023. It was an encore after they both played solo. We can only imagine how it must have felt live, given that both artists seem to have a clear understanding of utilising the physical qualities of sound. It is one thing to daydream with a bowed guitar being looped over ethereal hums through headphones, but to be present at a collective deep listening experience of such a sound dialogue must feel healing. Luminous motifs emanate in the middle of the composition, while nostalgic synths layer up, and morph in tone for evocative melodies to rise. An evolving drone atmosphere creates a sonic massage, grows in intensity, then vanishes in an echo. ‘Place Of Forever’ is spatial at the beginning and immersive at the end. First, Mogard’s Farfisa organ keys float around, panned in a virtuous, elegant way. The track is long enough to indulge, 5 minutes in and we feel how evolving this dynamic can be, right before Irisarri’s signature looped bass treatment starts to merge, growing in intensity and texture, expanding. It feels like focusing on a wave while looking at the sea, but then zooming out to drown in its sublime dimension, ever changing. There’s something cathartic in the air, the build up takes us somewhere else, while the ocean fights against its mandate to fade away." [Cyclic Defrost] "Ethereal beauty with an almost immaculate dimension. Impossibly Distant, Impossibly Close is a brooding and at the same time priceless contemplative effort for entrancing noises, velveting drones and revered guitar phrasings. Two legendary and innovative sound artists Rafael Anton Irisarri and Abul Mogard join force to produce one remarkable micro-noise ambient release. This album is published by Black Knoll (owned by R.A.Irisarri) and crafted in vinyl format. Rafael Anton Irisarri is one of the most reliable and notorious figures of modern days ambient electronica with an incredible ability to blend textures and sinuous motifs to express a sense of emotional grandeur and heartfelt dramaturgy. His albums have notably been signed on Room40, Umor Rex, and others. His work counts a handful of collaborations with artists of various musical horizons and stylistic paths. Abul Mogard is another distinguished sound artist producing soundscapes of deep introspective reflection and journeying to the confines. His usual sound signature mixes abrasive, shifting, and mutating drone sequences with fractured consonant melodies, mostly with sorrowful and eerie inclinations to reach a state of sensory communion. His numerous albums can be found on Ecstatic Records and also his sumptuous collaborative release with KMRU for VAKNAAR. If the two lengthy pieces start in a slowly and subtly moving ambient register, both carry on an emotional crescendo based on multilayered pads with a cascade of drone guitar vibes filled with dreary and tearful, if not elegiac, moments. Those pieces end up in one overwhelming and intoxicating ethereal beauty with an almost immaculate dimension, embracing all inner ghosts and soul upwarding. If you believe in the transcendent nature and spiritual power of music, with a marriage of the divine and the human, you will be seduced by this album. Impossibly Distant, Impossibly Close is a brooding and at the same time priceless contemplative effort for entrancing noises, velveting drones and revered guitar phrasings. If you like slowly and elegant evolving minimal ambient then intense, massive, and soul crushing guitar noise litanies, this album is for you. A strong and cohesive new release which can easily compete for best album of the year. Warmly recommended for fans of those two artists but also Alessandro Cortini, Tape Loop Orchestra, and TROUM (at their most soothing moments). Essential." [Philippe Blache, IGLOO Magazine]	2024	€30.50
MOLJEBKA PVLSE	Borrowed Scenery: Appearance	maxi-CD	During the pandemic, many of the restrictions introduced, in particular, on movement, artists, like most of us, made their journeys mainly in their own rooms or made pilgrimages deep into each other. Mathias from MOLJEBKA PVLSE at that time uses his own studio as a vehicle he traverses through virtual field recordings, composing his own abstract environments and discovering distant lands. The map of these borrowed places is written in 3 long compositions, complementing each other like the topography of neighboring places or overlapping grids showing different properties occurring at the same latitude. It is possible to read them separately, just as it is possible to listen to only one of the three compositions and it gives some idea, allowing you to capture a selected fragment, this listening to the whole gives a deeper insight. The material from the session was divided according to a similar pattern and properly divided into two complementary releases: the album "Borrowed Scenery", which will be released next spring on vinyl, and CDEP "Borrowed Scenery: Appearance", introducing the atmosphere of the longplay, respectively. The CD containing over twenty minutes of composition folded in a 6-inch gatefold with two postcards attached is the next installment of a series of short musical forms, initiated in our catalog by the publication of the material "Klechdy" by Rigor Mortiss. CD EP folded in 6" gatefold sleeve + 2 postcards limited to 200 copies https://zoharum.bandcamp.com/album/borrowed-scenery-appearance	2021	€12.00
	The Distant Past Resound	CD	https://zoharum.bandcamp.com/album/the-distant-past-resounds About a year after the release of the great album "Borrowed Scenery", MOLJEBKA PVLSE is back with another, even better material. Four musicians were involved in its recording; Mathias Josefson, handling all the electronics, was joined in turn by Isabel Fogelklou, who rejoined the ranks of the Scandinavian project, recording her harp parts, as well as Hara Alonso on piano and Kris Kuldkepp on double bass. The contribution of each of these artists left its mark on the final shape of "The Distant Past Resounds", which to some extent is a continuation of the previously chosen direction. However, thanks to the use of richer instruments, the involvement of each of the participants of the recording session, whose input translated into richer arrangements, even bolder stylistic journeys and the diversity of the entire composition. All this makes the latest material of MOLJEBKA PVLSE an extremely interesting story, outlined in a very expressive way so as to release a whole palette of colors, moods and emotions from the sound matter, allowing you to lose yourself even deeper with each subsequent listening. We can still talk here about the stylistic convention, which can be defined as drone / ambient, but here they were treated as a base on which one of the most interesting, if not the most interesting album in the Swedish artist's discography was based. ######################## "The first notable difference with many previous releases from Mathias Josefson's project Moljebka Pvlse is that it is now a real group. I don't know if this is a temporary thing, but next to Josefson on electronics, we have Hara Alsonso (piano), Isabel Fogelkou (harp) and Kris Kuldkepp (double bass). It is not a surprise that these instruments are well suited to play long-form drone sounds, perhaps with some help (a bow, an e-bow), and get those strings resonating along with whatever Josefson does on the electronic side. It starts with a more abstract approach in which many overtones are ringing, which, at times, reminded me of early Organum, which is always a good thing. The CD has one long track, but on Bandcamp, there is a division into three tracks, each about twenty-five minutes. I am unsure if that has to do with the upload capacity of Bandcamp or if these are natural breaks in the piece. I don't register anything as being a separate section. As the music progresses, the instruments somewhat drift apart and become more apparent. The piano plays sparse notes, the double bass singling out notes, and from there on, the music becomes a most curious combination of what I perceive as long-form acoustic improvisation, colliding with the more composed droning of electronics. There is something orchestral about this piece at several points, certainly towards the end, which bumps with the feedback that is also, at times, part of this piece. A fascinating release, which, for all I know, is quite a departure for Moljebka Pvlse and opening interesting new paths into the future." [FdW /Vital Weekly]	2023	€13.00
MONOCUBE	The Rituals	CD	"Following a recent appearance on Drone Mind Vol 5, Ukrainian act Monocube makes his way into the halls of Malignant for his second, full length recording, featuring nine tracks and just over an hour worth of material ensconced in shadowy, enveloping atmospheres, intact with all the hallmarks of classic dark ambient: arcing, cinematic textures, elegiac melody, and timestretched drift. As The Rituals progresses, it becomes increasingly populated by something even more ominous and bleak; undertones of ancient tribalism and fiery invocations arise, mixed with the blackened soot of distant factory churn and the burning remnants of an ashen wasteland. Featuring collaborative tracks with Treha Sektori, Apocryphos, and Asmorod, The Rituals is an immersive and compelling work, seamlessly bound together in an embrace of darkness. Tracklisting: Visiones III, Drowned Sun, Downwards (feat. Apocryphos), Totem Incantation, Fires Shifting - Nocturnal Motion, Through Our Blood, Father Fenris, Anthracite Glow (feat. Treha Sektori), Initiation (feat. Asmorod)." [label info] www.malignantrecords.com "Imagine a deep void, devoid of light, black to its very core, soundless, airless, empty and infinite. There’s no beginning or end, no past or future. The terms of time and space are so irrelevant here. A void that sucks you like a vacuum, and you can’t tell if that body of yours is still solid, or if you’re broken into atoms and only your consciousness remains as something that can still be described with actual words. Or perhaps even this doesn’t exist anymore. What a cliché, huh. How many times have we dealt with such visions in the dark ambient genre. Mr Lustmord, Sir, you made a mess in many (well, ok, not so many) people’s minds and now your sons, and sons of their sons, generation after generation, paint these same visions. Very slightly changed over the years, sometimes more concrete, more cinematic, sometimes more abstract. In one occasion the music may be more melodic, while in another it may take a more droney direction. Noises, harmonies, ritual, oriental, glacial moods, it may all vary but the foundation is more or less always the same. The dark ambient community doesn’t mind being fed with more of the same though. At least I don’t. I don’t look for innovations anymore, I don’t need anything groundbreaking – that expectation ended about ten years ago. Now I just look for an atmosphere that will speak to me. For a mixture where all the ingredients are served in perfect proportions. The reason why I write all this, is because Andrzej Gładuszewski of the Ukrainian project Monocube managed to reach a perfect balance, at least to my taste. The album doesn’t bring anything new to the genre, but it doesn’t have to. Sometimes I wonder if there are any dark ambient artists who still believe that they can create something truly “new”, something that in a few years from now will be considered a milestone. Guess not so many. This concerns most musical genres anyway. Only for dark ambient musicians things are even harder, because, contrary to pop, rock, or even neofolk if we consider the subject on a more underground level, the dark ambent genre from its definition is devoid of so-called “catchiness”. Of course I’m speaking in generalisations, because sometimes you may stumble upon a catchy ambient tune or theme. Yet even if that is the case, only us, the fans of the genre, may consider it so. For the majority of the listeners it’s still music that’s difficult to digest. By all means, I don’t mean to say that Andrzej is not an ambitious guy. I guess that his efforts are focused on something else: on capturing that very core that not many have managed to capture before. I feel like this core becomes smaller and smaller with every passing year, but he managed to reach it. Hit it like a world champion in archery or something. It’s all because of the sound, which is of the highest quality, the feeling that Andrzej obviously has in his heart, his understanding of the genre and the potential receivers of this music. He knows exactly how to avoid boredom or irritation. The tracks differ from one another, each tells its own story and it doesn’t take much time for the listener to distinguish between them. You want some delicate darkness based on guitar sounds of a distant post-rock provenance? You got it in “Visiones III”. Deep and anxious bass drones, but still without bursting with horror? “Downwards” (composed with Apocryphos). While in “Totem Incantation” you’re dealing with strange noises, whistles and murmurs. Its chaotic, ritual character makes me think of the Aural Hypnox label, especially since my ears tell me that it was composed using solely physical objects, including the human voice. “Through Our Blood” introduces acoustic guitar and the exceptionaly eerie “Father Fenris” brings forth a crawling dread straight from the centre of the Earth. The main dish we find at the very end however. “Initiation” was made in collaboration with Asmorod, and Nicolas’ presence is very significant here. These solemn synth melodies are so specific they can’t be mistaken for anything else. After all, Asmorod is responsible for “Hysope”, one of my favourite ambient albums ever and… well, possibly the last “milestone” I was discussing above. This mélange doesn’t seem as if made solely to put all the artist’s ideas and dark ambient influences into one recording. It forms a story, where each track is another chapter. Or it’s like different views of the same idea. Andrzej captured the essence of the genre and was able to carve in it in a very creative way, so a big applause from me for that. And “The Rituals” is a big step forward when compared to the previous “Blue Dusk /// Red Dawn”. At the moment it’s one of the best dark ambient albums of 2017." [Santa Sangre]	2016	€13.00
MONOPIUM	The Goat & the Dead Horses Circus	CD	" ”The Goat & Dead Horses' Circus” is a new child for MONOPIUM. After a great debut album “Mesmerized.” The surrealist titles hint at the fact that the album is filled with abstract music and slightly degenerated, out of this world sounds. Twelve compositions introduce the listener to the world of magical fairytales. Welcoming you to an adventure based on a soundtrack of deranged improvisations; experiments with cut-ups and exotica. The tracks have been graced by guest appearances by two extraordinary artists: Euski (ROMA AMOR) and EmmA WyrD (CHRONIQUE NOCTURNE) The cover was designed by Robert Schalinski (of Column One fame)." [label info] www.zoharum.com "Michal Majcher is the man behind Monopium (great name I thought). Active since 2007, he released his first album, "Mesmerized' on Beast Of Prey in 2009. I don't think I heard that one. The music here on 'The Goat And The Dead Horses' Circus' is easily classified as 'odd'. Zoharum describes this "neo-cabaret, post-industrial electronics, musique concrete, drone and even free jazz, it draws associations with incidental musics for film noir, surrealist cinema and the dadaists" and I couldn't agree more. Not something I necessarily like throughout, I must admit, as it carries some traces of gothic, pathetic undercurrent here and there, the sort of adult stuff about fairytales, but because it sounds quite different from what is usually on our plates, but still could easily be classified as 'experimental' by our own standards, this is certainly something I played with a lot of interest. It's quite heavy on the percussion side of things, but also have tape manipulation, cello, voices and maybe field recordings - more water sounds here. A hotch-potch of instruments, and such perhaps of styles (although of course that's not necessarily per se), this makes up indeed a curious CD, of all those things mentioned, and to which one could also add perhaps ambient and plunderphonics. Nice one for its daringly, different content." [FdW/Vital Weekly]	2012	€12.00
MONOS (DARREN TATE & COLIN POTTER)	Age and Transformation	do-CD	"To say that this has been planned for some time would be a bit of an understatement. The original Age and Transformation was released by Darren Tate in 2004 on his own Fungal imprint (and issued again in 2005). Both were released as CDRs in editions of 100 copies. Around 2006 the subject of doing a reissue was discussed, and discussed/planned/discussed, and now 6 (six!) years later Age and Transformation with an exquisite Colin Potter remaster along with an entirely new piece, Aged and Transformed remixed from the original is just about here. Darren's work has always been that of a drone eccentric, and proof positive of that is the micro-editions released since 2003 on his own Fungal Records. True modern-day psychedelia, drawn out drone excursions, electric guitar scraping and expansion, synth noodling harbored into small private recordings for the chosen few. The limited number of those exposed to Darren's view, which was not intended to be exclusive, just small updates as to where/what was happening with Darren in terms of gear, mood and circumstance. There is an inherent feel that little editing takes place, just captured recordings with the reel-to-reel on. Tate has worked extensively with other collaborators: Andrew Chalk (together known as Ora), Colin Potter (as Monos), Paul Bradley, Andrew Liles, and Ian Holloway to name a few. Collectively a solid block foundation of great U.K. drone artists. In a collaborative setting, there may be a bit more judicious editing employed for better (or for worse) depending on where one sits in appreciation of refinement over improvisation. Which brings us to Age and Transformation. Two tracks, both around the half-hour mark and presumably recorded in one take each. The first track ('Untitled') contains all elements of what makes a Tate recording effective: gentle guitar scraping, echoed city recordings, air vibrations oscillating an overall nocturnal hush that shrouds the whole piece. The second track (again, simply 'Untitled') is undoubtedly one of Tate's finest solo moments. A defining impressionistic recording captured in the middle of the night. It opens with the sound of a freeway , a very distant light traffic flow filtered through the forest. A lonesome organ sonata, languid chords with silence in between weave in and out at various points throughout. Tate sitting by the window capturing the sounds of the freeway, voices, haunting arias both human and industrial. The second disc is a reworking by Colin Potter. Extracted from the quiet of Age and Transformation, the first track 'Aged' is an encapsulation of the entire recording with the small dervishes, organ melodies and drone wrapped up in an almost tidy nine minutes. The second, 'Transformed,' is over 40 minutes of water tower acoustic sustained tones, layered subtle guitar hum... a perfect complimentary refinement on a classic ambient improvisation." [label info] www.infractionrecords.com	2012	€16.00
MONTGOMERY, GEN KEN	Drilling Holes in the Wall	CD	"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	2007	€13.00
MORGEN WURDE	Für Immer	do-CD	"Morgen Wurde and his musical allies move on to score the unfathomable wonder of the Dasein. "Für Immer" is a further breakthrough to the core, emanating sounds which let dissolve all conceivable questions of man about life and death. Sounds that let all questions appear negligibly. The immersive finds are channelled into ambient/space/drone music hybrids with neoclassical and jazz noir elements, sometimes crossing paths with messengers of transcendental sounds like Abul Mogard, bvdub, Fennesz, Gas, Rafael Anton Irisarri or Tim Hecker. The elevating experience happens in Morgen Wurde's electroacoustic spaces, hosting singular virtuoso instrumentalists. Creating the "Morgen Wurde" form of lyricism and haunting soundscapes, this collaborative exploration takes space music to new highs. There are the stoically undulating sound masses, like the ambivalence of the awe-inspiring mysterious forces of nature, sometimes majestic, sometimes threatening. And there are the soloists, wandering through these sonic landscapes as masters of their art: Doug Perry on the vibraphone and Tetsuroh Konishi on the trumpet embody subtle sublimeness. The violinists bring in widely differing styles: David Strother skipping ardently on top of the seething sound masses, Georges-Emmanuel Schneider forming a mystic amalgam with the underlying soundscapes. Maria Estrella's transcendent vocal texture, nestling in solemn spheres, marks the epic finale. These musicians bring unique elements of life and humanity to the recordings, adding their very personal note and vision. The rich material called for addressing also the body. Artists from around the world answered this call for cosmic dance remixes: Altone (Japan) initiates the rite with his transcendently free-floating remix, incorporating sounds from various album tracks. Roman Ridder (Germany) then sparks the dance with a deep dub techno ride. Liuos (Finland) irresistibly animates the body further into a trance, before Cie (Germany) breaks loose the passionate fire of rave. Lostlojic (Ukraine) upholds the energy of peaktime techno, before Dmitriy Zakat (Russia) navigates through an absorbing bass intermezzo, followed by a sweeping post-dubstep adventure by Sébastien Job (France). Martin Schulte (Russia) pursues the explorative mission driven by minimal tech breaks. Thereupon Johnnyx Guitar (Germany) deepens the tempting occult spirit of the venture. Duckem (Greece) leaves the traveller with moody trip hop in a Blade Runner-style bar, before we come full circle with the beat version of Altone's remix, reaching out to eternity. Like all the best remixing work, these tracks are not intended as alternative versions of the originals. Rather the remixes can be considered originals of the respective artists who drew sounds and vibes from the "Für Immer" originals. This is the third album in the series of Morgen Wurde's electroacoustic sound processing-based albums, following “Brach Auf” (2016) and “Assassinous Act” (2017) which were released on Time Released Sound, Alameda. Besides, there are two albums “Letzten Endes” (2015) and “Als je zuvor” (2018) (both on Off Rec.) which were composed classically on the piano and then clothed with electronic sounds." https://morgenwurde.bandcamp.com/album/f-r-immer	2020	€15.00
MORI, IKUE & CHRISTIAN RONN	Chordis Et Machina	LP	"Ikue Mori and Christian Rønn are the superlative electroacoustic duo, well “duo” unless you count the instruments themselves and you should. Rather than contain with rigid composition, these twin masters of unrule remain radically attuned, open to resonance of time and sound, invoking even the personhood of space and object, chordis et machina. You´ll soon see, once this music gets loose to join you in your own environ. “Endless probing that hooks into your neurons, this album leaves sonic organisms floating around you. Even if that's merely an illusion, the alchemy of Mori and Rønn’s hyperactive stew is very real.” [Marc Masters] No meandering muddiness, the precision and responsiveness of this heady collaboration steps swiftly from fine grit distortions to leaky sinewaves, sweeping from the playfully melodic to the seriously xenomorphic. As prepared-piano hammers against braiding electronics, each possibility unfurls the next. Tossed from the final groove, you'll hike up your needle and want to plunge right back in. About the artists: Ikue Mori's impact as drummer of post-punk pioneers DNA found an unexpected path when a drum machine set alight her astonishing oeuvre in electronic music, both solo and in collaboration across 30+ albums in bands like Death Ambient, Mephista and in collaboration with John Zorn, Okkyung Lee, Zeena Parkins, Sylvie Courvoisier, Susie Ibarra, Wadada Leo Smith, Fred Frith, Kato Hideki, Evan Parker, Dave Douglas, Evyind Kang, Craig Taborn and Kim Gordon. Copenhagen's Christian Rønn is renowned for his electronic and organ improv music, his filmscores and performances on more than 20 albums, collaborations with Rhys Chatham, Peter Peter, Lotte Anker, P.O. Jørgens, Ingrid Chavez, Vanessa Daou, Jenny Graf, Bob Bellerue, Aram Shelton, his group projects Prox, Panser, Blind Mans Band and his popular solo project, Ganga. (Written by James Decker, Resipiscent Records)" https://nische.bandcamp.com/album/chordis-et-machina https://www.resipiscent.com/artist/view/50	2018	€23.00
MØHR & MAEROR TRI	Hafenstadt	CD	" On “Hafenstadt”: This music was originally planned to form a part of the third tape box in the MØHR interpretation series of ZNS TAPES. In this series different artists got an individual 30-minutes-piece of basic material by MØHR to be interpreted it in any way: Using it as a backing tape and adding some more tracks, getting inspired and doing something unique in the spirit of the basic material, deconstruct and arrange it anew. The invited artists had any opportunity to re-work the source material. For the actual release the basic material was placed on side A and the interpretation on side B, enabling the listener to compare the basic and the final sound. Three tapes were compiled as one tape box linked by a loose theme. The first box, Bürokratie, contained works by DAS KONZENTRAT, BESTATTUNGSINSTITUT and SUICIDE COMMANDO (released in 1990), the second, Kulturschock, contained works by ANDREW CHALK/DARREN TATE, ECTOPLASMIC EMBRYO EXPERIENCE and FLAGRANTs D’ELI (released in 1991). The third one, which was to contain Hafenstadt by MAEROR TRI (as well as material of PBK and THE HATERS), has never been released due to the sudden end of ZNS TAPES. We’re convinced that this combination of basic stuff plus musical reworking is still an interesting and exciting experience for the audience, maybe especially after more than 20 years in the archives. (Andreaz Vogel) MØHR biography MØHR existed between 1986 and 1994 as the solo project of Andreaz Vogel. Previously he had been active as a bass player and drummer in various post punk and noise rock groups.Since its inception the main aim with MØHR was to create a dense and energetic sound without the use of conventional instruemnts. With this wall of sound the listeners were almost under attack and forced into a dark and brooding listening environment, both on the recordings and in the live situation. Andreaz also ran the important tape label ZNS TAPES. MAEROR TRI biography MAEROR TRI existed from April 1988 to the end of 1996, coming from the very north-western part of Germany. The three members were influenced by (post) industrial, noise rock and experimental ambient and found a way to establish their very own drone based style, using often guitars but also other instruments plus all kinds of (self build) objects and masses of sound effects. Their symbol, the triangle “Wheel” stood for ‘consciousness’, moving & shining in different colours and speed. The sound was meant as a tool for the listener to open the mind for transcension & sensitization: ‘We want to transmit a total openness, the bursting and overcoming of all mental barriers, the breaking out of the enforced subject “Tunnel-Reality” of modern society. ‘ Out of MAEROR TRI evolved the projects TROUM and 1000SCHOEN that are still very active." [label info] www.aufabwegen.com www.aufabwegen.com "Mohr was the work of German avant tape-machinist Andreaz Vogel who ran the ZNS Tapes label in the late '80s and early '90s; and our introduction to this work dates way back to the very second Drone Records single, released in 1993. This was about the time when Vogel pretty much called it quits on sound construction; but given how many great artists had been introduced through the Drone Records series of singles, Mohr's work had always been intriguing even as it had been quite elusive in the global cassette underground at that time. By the end of Mohr's tenure, Vogel had embarked on three mail-art pieces in which various audio sculptors and sound destroyers would rework / deconstruct a 30 minute track from Mohr. The second in this trilogy was notable to those Andrew Chalk enthusiasts as an unknowable Ora cassette from 1992. The third - and never released - cassette was to include Maeror Tri, The Haters, and PBK. With Hafenstadt, we now have a glimpse back into the gristled, contorted, and mangled tape construction that Mohr had been producing in conjunction with a pretty stellar set of black hole implosion of x-ray drone courtesy of Maeror Tri. Vogel took something of a Fluxus approach to his industrially bent constructions, purposely avoiding musical instruments in favor of the found sound that got flung into orbit in a spiraling descent of his tape loop dub and squeaky wheel rhythmic errata. These are deliberately raw and malformed cyclical patterns for a DIY musique concrete. Maeror Tri's brain-crush of sustained reverb and backwards masked flares of dark energy bury much of the insistent hypnosis from Mohr well beneath their grim wall of leaden noise and nuclear winter drone. It's always a wonder to behold the early works from Maeror Tri, and here it's nicely paired with Mohr's mangled hypnogogia." (Aquarius Rec)	2015	€13.00
MUELLER, JON	Strung	LP	JON MUELLER auf Abwegen: Für seinen Beitrag in der Guitar-Series von TABLE OF THE ELEMENTS muss der Perkussionist auch an die Gitarre - und begeistert mit einem kraftvollen, loopig-hypnotischen Track... klares Vinyl ! "Peripatetic composer, performer, improviser, and designer Jon Mueller is a busy guy, and both the rock and experimental music scenes are the richer for it. As a drummer, he propels the ecstatic whorl of Collections of Colonies of Bees and the occasional guitar army of Rhys Chatham; alternately his solo project, Metals, is the most harrowingly intense percussive barrage you'll ever encounter. He also finds time to collaborate with artists ranging from Wilco's Glenn Kotche to Swans' Jarboe. Whether it's minimalist bombast, free-improv interplay, or electro-acoustic finesse, Mueller's got it covered. But what can he do with a guitar? In Strung, Mueller doesn't play the guitar; he scrambles its molecules. Laying down a photon-blast of sound, he initiates a relentless, rapid-pulse attack signal that summons wave upon wave of white noise. Think inexorable alien invasion -- The Day The Earth Stood Still, with Lou Reed as Klaatu and Metal Machine Music as the message. Earth doesn't stand a chance." Pressed on clear vinyl with great Savage Pencil etching on the b-side." [label info] "Already noted before: Table Of The Elements love Jon Mueller, and who doesn't? Here he leaves the drum kit for what it is and plays guitar, as an addition to the labels Guitar Series Vol. 3, an one-sided LP (the other side has an etching, which is a bit hard to see in transparent vinyl) of Mueller playing the guitar as if it was a mechanical beast. Perhaps with rotating blades? A ventilator? Mueller cuts out, in a rhythmical manner, sounds and thus one strum arises, repeated, until the full guitar orchestra falls in, with full blown drones. A very consistent idea that is worked out well, and makes this sound like a great album, coming from a great tradition: from Lou Reed to Glenn Branca to Earth. At the same time it also sounds like a Mueller record, with amplified hums. Perhaps a bit too short, as this seems over before it has properly started, it seems. The built-up takes some time because it keeps shifting back and forth, adding a strange movement to the piece. This is a great record, showing a new side for Mueller I think." [FdW / Vital Weekly] www.tableoftheelements.com	2008	€16.50
MULTER	Köln 4/11/2006	CD-R	"One of the best known unknown artists of the german experimental hard-to-classify scene publishes here this document of a one track concert, recorded at the Kulturbunker, Cologne during a concert series organized by Till Kniola / Auf Abwegen in Late 2006. The trio of Neidhardt (guitar/Amps), Geiter (keyboards, live mix) and Hoeschen (field recordings, live mix) performed in their unique style what can be loosely described as memorable post-rock drone. A piece which just keeps growing and developing for close to an hour. The last full length release by [multer] was the sound installation soundtrack ‘Berge Im Bunker’ (consouling sounds, 2011) which was prefaced by the marvelous but vinyl only ‘Kopenhagener deutung’ album (genesungswerk, 2003). Next year shall bring a release of a studio version of this track as well as other projects concluding with the publication of entirely new material and accompanying live performances. For those interested what happened between [multer] activities there is the meanwhile impressive back-catalogue of Hellmut Neidhart aka ‘N’ solo and also releases on Thomas Geiter’s own label inselkind-schalltraeger worth more than a listen. Issued as a limited & numbered cdr with special artwork directed and produced by [multer] and as an unlimited digital dl." [label info] https://klappstuhl.bandcamp.com/album/k-ln-04-11-2006 "Klappstuhl Records zeigt sich, nach ersten Anzeichen 2012 und 2013, seit 2015 zweifelsfrei wiederbelebt, ohne merkliche Gesinnungsänderung zur kassettentäterischen Vorgeschichte in den 80ern (& 90ern). Köln 4 \| 11 \| 2006 (SP 012, CD-R) wirft nun sogar ein halbes Pfund in die Waagschale. Durch ein silbernes Cover aus Eisen. Zu hören sind, live im Kulturbunker, Thomas Geiter: keyboard, mixing, Mal Hoeschen: fieldrecording, mixing & Hellmut Neidhardt: guitars, amps, Letzterer einschlägig bekannt als N, die drei gemeinsam als [multer]. Sie tasten sich mit blasender, wischender, dröhnender Vorsicht voran. Dröhnend? Es ist das fast ein Singen wie von einer Harmonika, ein sublim changierender Silberstreif am tief gelegten Kulturhorizont. Ein knatternder Helikopter unternimmt einen Aufklärungsflug. Kleine Alltagsgeräusche, Schritte, Vogelschreie, Entengeschnatter, Glockenspiel und Turmuhrschlag oder erst glucksendes, dann anbrandendes und lappendes Wasser akzentuieren als Einsprengsel der Welt da draußen das langwellig sonore, surrend noch unterstrichene Fürsichsein in einem Tagtraumzustand. Ein fernes Akkordeon spielt 'Caravan', die N-Gitarre schnurrt. Zwei Stimmen referieren über den Ausnahmezustand und die Schamlosigkeit, die künstlerisches Schaffen ermöglichen, und über das 'Nein' des ästhetischen Menschen. Nietzsche trapst als Nachtigall: Es giebt zwei Zustände, in denen die Kunst selbst wie eine Naturgewalt im Menschen auftritt, über ihn verfügend, ob er will oder nicht: einmal als Zwang zur Vision, andrerseits als Zwang zum Orgiasmus. Beide Zustände sind auch im normalen Leben vorgespielt, nur schwächer: im Traum und im Rausch. Vinyl knurscht, der Harmonikadrone kurvt und sirrt. Und träumt von der suggestiven Kraft der Musik, ihrer "suggestion mentale"..." [Bad Alchemy]	2016	€11.00
MUNDAL, ARE	Nocturnal Discombobulation	7inch	"Are Mundal / N.U.N. Nocturnal Discombobulation (Telestrion Records 004) 7" EP 12m According to one of the inserts that comes with this, N.U.N. stands for "Nacht und Nebel", whereas the other insert says "New experimental/dark ambient 7" by Nacht und Nebel " - hmmm, okay. Yet the cover implies that it's an Are Mundal release! And, what does Discombobulation mean? "In a state of confusion" according to Google. So, aptly nothing is clear. Except for the Satanic and sado-erotic imagery of the artwork. The music is all of a bleak and gloomy nature, as one expects from Are Mundal, almost certainly inspired by dark ambient and industrial music of artists like Lustmørd, SPK or Brume. The A-side is based around deep growly sounds, dark tones, shuddery electronics, guitar/bass, some saxophone and voice fragments, plus sundry other elements, whereas the B-side starts with the narration from a dissection commentary over which string tones and ritualistic percussives grow. Each side is over too soon really, and I could well imagine the music achieving far more if it had been given the room to develop. Yet, for what it is, it must be one of the strangest 7" records I've heard in a while, and also a rather good one." [Audion Mag.] https://aremundal.blogspot.com	2022	€10.00
MURMER	Periodic Exercises in (f)utility [homework 2016-2022]	do-CD	this is a Kokeshidisk release - kodi 14 - september 2023 "i work slowly, and sometimes i work not at all. so having an open invitation from taâlem to create work at the end of each year, especially as winter is setting in and it is beginning to feel like i’ve done nothing all year (i haven’t, but it can feel that way), comes as an energy boost, a reassurance, and an opportunity to resurrect some confidence, and a sense of worth. so i push myself to take that opportunity - and have done so each year since the project began (aside from the year in which my father died, explaining the 2019 gap) - and i thank jean-marc for providing it. in many, in fact almost all, of the years represented here, my piece for homework was the only work i published. indeed, this collection is sandwiched by my two most recent (physical) releases: songs for forgetting was released in late 2016, just before the docks sing in strange tongues appeared on homework 1, and tether was released in early 2023, several months after thaw and timber was published on homework 7. so this collection could be viewed as my complete sonic journey over those 7 years, digging in archives, showing off newly discovered sounds, and all in all attempting to prove to myself that it is all for something, that the tape should keep rolling, and that i must pay attention, because my homework will soon be due." (patrick/murmer, june 2023) the docks sing in strange tongues (2016) objects and situations found in rovaniemi, hamburg, mooste, põlgaste, tallinn, and bordeaux between 2003 and 2016. title found in the poem of the same name by panos panagiotopoulos. echo surveys: viljandi (reimagined) (2017) echo surveys is an ongoing series of activities including performances, workshops, installations, and compositions that consist of site-specific sonic interventions; all sounds heard are produced and/or recorded in a chosen space, using only materials found therein. this 'reimagined' work adds a new layer; it is based on a live performance at the noisy november festival at supersonicum in viljandi, estonia on 2017.11.17, and is composed from the initial field recordings made in the space for use in the performance, as well as from the recording of the performance itself. also participating in the performance and therefore in this composition were erik alalooga and taavi suisalu (the event organiser and other performer on the bill that night, respectively) and a number of members of the public. water, grain, oil (2018) water, fingers, and nylon string (france, 2008); disturbed ants (finland, 2014); panelia mill grinding wheel (finland, 2009); empty oil tank interventions (latvia, 2008) nail down your ghosts (2020) source material recorded in an abandoned and now-demolished house in the estonian town of valga in october 2019. sonic interventions performed, and elements subsequently reworked, by liisa hirsch and patrick tubin mcginley, 2019/2020. composed from those elements in june 2020. originally created for the short film to crumble into clouds above your living room by anna hints, commissioned as the estonian contribution to the 2020 venice biennale of architecture, postponed to 2021 due to the covid-19 pandemic. echo surveys: nuti (reimagined) (2021) in november, 2020 i participated in an event curated by shawn pinchbeck for BEAMS (the boreal electroacoustic music society) in canada entitled together apart... an evening of audio wonderments. it was to be another online concert in response to the covid-19 pandemic and lockdown, but due to the time differences for artists spread throughout north america and europe, we were given the opportunity to pre-record our performances. this allowed me to create a piece in our half-renovated farmhouse in the estonian countryside, from which a live stream would have been impossible to organise. the piece streamed online on the night of november 21st, and was then briefly archived on BEAMS’ twitch page. i then made this 'sound film' available permanently online (murmerings.com/2021/01/echo-surveys-nuti/). for this release i reimagined this work for sound only, editing a piece together from the original live performance recordings and the sources used therein. thaw and timber (2022) dripping woodshed roof (estonia, 2022); railings at the bfm (estonia, 2022); thawing earth (estonia, 2022); water heater (france, 2008); toddler making feedback (estonia, 2020); sodablasting log walls (estonia, 2020); inside kreenholm (estonia, 2017); baltijaam wall (estonia, 2011) photographies by patrick tubin mcginley design by désaccord majeur mastered by flavien gillié https://taalem.bandcamp.com/album/periodic-exercises-in-f-utility-homework-2016-2022-kodi-14 "As Taalem sees a restart (see elsewhere), so is their sub-division Kokeshidisk. The mothership Taalem releases a yearly Bandcamp digital-only, pay-as-you-want compilation called 'Homework', and for seven years, they have been doing this every year, resulting in a massive album (always announced in Vital Weekly). I am unsure why they selected Murmer to collect his pieces from six (one year he was absent because his father died) and someone else. Other, of course, then they think these are good pieces. Murmer likes to submit relatively long pieces to compilations, hence the double disc. Patrick Tubin McGinley, the man behind Murmer, isn't the most active musician in the releasing CDs (cassettes, vinyl) department. He's a man of words, and for each of the six pieces, there is a list of sound sources and inspirations for titles. For many years, he has lived in Estonia and is very active with field recordings, which he incorporates in music, installations, workshops, etc. His primary interest lies in finding sustaining and minimal sounds. 'The Docks Sing In Strange Tongues', the first piece here, collects sounds from various harbours and in the mix, it all makes a very coherent, minimalist music piece, which reminded me of Ingram Marshall's 'Fogtropes'. This piece sets the tone for the other five. In each of his works, Murmer uses a limited set of sounds, different sounds, that is, and these are cleverly woven together. Nothing stays for very long in the place, as Murmer uses a variety of lengths, so there is never the same overlap. In that respect, he reminds me of the sadly recently deceased Steve Roden. It bears the same tranquillity, the same effective sparse use of sound sources and working within limitations to a significant effect. His field recordings are usually entirely obscured, which adds to the beauty of it all. In 'Echo Surveys: Nuti', there are wind chimes, and in ''Echo Surveys: Viljandi' birds, perhaps. Water sounds in 'Water. Grain. Oil', maybe, but whatever else? I don't know. Murmer uses quite a bit of filtering (at least, so I believe) and prefers darker sounds. This, too, adds to the ambient quality of the music. It is an excellent release, which begs the question: why isn't there more of Murmer available?" [FdW/Vital Weekly]	2023	€15.00
MUSLIMGAUZE	Emak Bakia	CD	"We have repeatedly surprised you with unusual releases that sound uncharacteristic for wellknown artists Remember Merzbow with guitars, synth (almost said synth-pop) and drum machine? Well, Muslimgauze's turn came up. Emak Bakia – long out of print masterpieces from 1994. Even in the huge Bryn Jones' discography Emak Bakia really stands out of albums from the period due its rather unique (house-music related) sound and short, by the standards of Bryn Jones, tracks. Like a crossmix between Psychic TV (circa Towards Thee Infinite Beat) and Muslimgauze's trademark percussion and eastern vibes. Available again as limited CD, MC and special Box Set. Re-mastered and with new stunning artwork. All Percussion Arranged and Played by Muslimgauze. Recorded at RMB Studios, London. Engineered by Andrew Burton. Mixed at Camden Lock Studios, London. Engineered by Jonno. Produced and Mixed by Andrew Burton. Re-mastered by Martin Bowes at The Cage, Coventry, UK, 2020. Sleeve by Oleg Galay. Thanks to Terry Bennett for his endless support and making this re-release possible! https://othervoicesrecords.bandcamp.com/album/emak-bakia-vox-57	2020	€13.00
MY CAT IS AN ALIEN / STEVE RODEN	Cosmic Debris Volume 2	CD	Interesting collab of two artists / projects that work in totally differents fields of sound-art creation... "CD re-issue of the second installment in the "Cosmic Debris" split ART-LP series set up by Maurizio and Roberto Opalio, aka My Cat Is An Alien, on their own Opax Records. The Vol.II sees the two space brothers from Torino, Italy, alongside Californian visual and sound artist Steve Roden. What makes this collaborative release so peculiar is the natural interactive exchange occurred between the artists, and that came out from the concept behind the experience itself. Roden's contribution thus represents the unique experience of hearing him literally 'playing' guitar chords. His first track, "E-bows and Rainbows", developes through the minimal and reiterated sound architecture of Roden's so-called 'possible landscapes', where singular source materials such as objects and field recordings are abstracted through electronic processes to generate new audio spaces, characterizing the artist's aesthetic in sound works; the following "My dog is a Yufo" is so far a pretty unheard aspect of Roden's ability to shape a fascinating intimate piece only with an old electric guitar and his own fingers, and it also demonstrates how a true artist can re-create his own personal universe, no matter what kind of source utilized. On their side, MCIAA deliver another piece of 'cosmic debris', centered on multilayered echoes of voice, toy piano, space drones raising from a distant horizon, and their own physical gestures performed during the recording, which reproduce themselves through the air, re-play and give birth to echoes of real time that overcomes its own essence, becoming field recording itself, mirror and spectre of its immutability. Their track entitled "Everything waves like cosmic debris" also features Ramona Ponzini's Japanese bells contribution." [label info] www.asilentplace.it	2007	€6.66
MZ.412	In Nomine Dei Nostri Satanas Luciferi Excelsi	CD	"First of 5 albums in the MZ. 412 reissue series, with a new album planned for next year. 1995 bore witness to the resurrection of nefarious Swedish horde MZ. 412 (previously manifest as Maschinenzimmer 412) - Nordvargr, Drakh, Ulvtharm and Shaitan. This ground-breaking, genre-defining album saw the inventors of "Black Industrial" blur the boundaries between Black Metal, Ritual Industrial, Dark Ambient and Power Noise. "In Nomine..." captures the darkest sides of Satanism, death and ritual sacrifice. An enduring, blasphemous statement of True Swedish Black Industrial. This remastered version features two previously unreleased tracks, alternate versions and all new artwork. Housed in a matt digipak with spot varnishing." [label info] www.coldspring.co.uk "Swedish label Cold Meat Industry was one of the leading labels to release industrial-based ambient-albums that was often termed black ambient or death ambient. One of the true legends from the label was Swedish artist known as MZ. 412 who together with compatriot artists Deutsch Nepal and Brighter Death Now was a leading artist to form the style of Cold Meat Industry. Now more than one decade later British label Cold Spring has taken the trip back to the past to the early days of MZ. 412 and now releases all five albums from the master of black magic. Mz. 412 was originally born as Maschinenzimmer 412. Brain-man behind was Henrik "Nordvargr" Bjorkk who has also released solo-albums under the name Nordvargr with among others collaborations with noise artist Merzbow. Mz 412 circulates in-between spheres of industrial, power electronics and dark ambient with a black metal edge. Maschinenzimmer 412 was developed in 1989, where the shortage MZ. 412 became actual from 1994 forward. All five re-issues have been remastered and comes in a neat package: A black designed digipacinner sleeve with minimalist front-design and early satanic artwork painting on the inner sleeve. First two releases "In Nomine Dei Nostri Satanas Luciferi Excelsi" (1994) and "Burning the temple of god" (1995) is ritual works of martial rhythm textures and subtle drones of crushing power electronics. What is remarkable by these two is the elements of black metal expressions that suits well into the black atmospheres. On the next album "Nordik battle signs" from 1998 the expression seems darker and more heavy. Elements of black metal has disappeared. Instead the expression is more brutal with crushing power electronics. The album among others contains the absolutely astonishing pieces of ritual brutality "Satan Jugend II : Global conqueering" and "In hoc signo vinces". As we move to next album "Domine Rex Inferum" the expressions turns more subdued with focus on black ambient expressions until the final tracks where hell breaks loose with destructible power electronics. Last album in the box originally was released five years after the aforementioned previous album "Domine Rex Inferum". The album titled "Infernal affairs" moves away from the subtle textures of "Domine Rex Inferum" and thus takes the listener in to more upfront and bombastic textures of Industrial with elements of utterly dark ambient and cynic black noise. Hordes of samples from humans whispering, conversing and sometimes screaming in pain saturates the album meanwhile black whooshing drones creates a cinematic atmosphere. An absolutely astonishing boxset demonstrating why MZ 412 is considered one of the true kings of the Swedish black industrial-scene launched from Cold Meat Industry. A true milestone!" [NM/Vital Weekly]	2010	€13.00
N [58] & TZESNE	Sismo	LP	N is one of the most profiled German drone / ambient artists - being active since the early 1990s he has released more than 50 records. "Sismo" is the third collaborative record with the Basque artist Tzesne, this time focusing on one long track twisting guitar lines with field recordings Tzesne made at Baix Vinalopó. At this place, there seems to be a deep ongoing melancholia; life seems to have stopped or is only able to go on in a slow motion that is barely noticeable ... heavy handprinted rough cardboard covers, black polylined inner sleeves, 180g clear yellow vinyl, strictly limited to 100 copies https://n1511.bandcamp.com/album/sismo	2023	€33.50
N [XX] (HELLMUT NEIDHARDT)	Tremonia	LP	N is one of the most profiled German drone / ambient artists - being active since the early 1990s he has released more than 50 records. On "Tremonia" he returns with the idea to picture a certain place musically - his approach goes further than before, using field-recordings for the first time. "Tremonia" is located under a row of 17 railway-bridges very close to the central station of Dortmund. Those bridges are played by the trains entering and leaving and also give house to an unknown number of homeless people. All these impressions can be heard on the field recordings of "Tremonia" taken in the early morning hours. Technically the record still sticks to N's "no overdub" rule with solo recordings: The field recordings were played over a third amplifier while recording the guitars, thus the mix was done live. Part of the tracks had been selected by Urbane Künste Ruhr for a compilation of places described by music. heavy handprinted rough cardboard covers, black polylined inner sleeves, 180g black vinyl, strictly limited to 100 copies https://n1511.bandcamp.com/album/tremonia	2023	€33.50
N / MOLOCH / E H E	Live at N51 21064 ° E6 783782 ° (28 11 2015)	LP	"With this collaboration, my ongoing search for musical challenge has led my into the territories of harsh noise; something I never did before... It happened after Moloch + E.H.E. and me shared the stage during some festivals, respectively I listened to them during Moloch + E.H.E. shows. I immediately liked how they manage to use noise in a very dynamic way, not always full blast, but really being able to tell a story with more than just one facette... And: they are not using laptop only as a source; the main part of their sound is created using a really difficult to see through bunch of effect-boxes with a labyrinth of wiring. So the cacophony (NOT meant negative in this case) in sound and the visual cacophony of wiring and pedals really comes together when you have a look on the tables on stage, spread all over with their tools... Besides the pure sound, the visual aspect is significant anyway: At least one part of Moloch + E.H.E. is concentrating on visuals during a show; using millions of frames for a visual improvisation in direct relation to the sound. At some point we decided to just prove if it would work joining Moloch + E.H.E. with N drones and instead of trying that at the studio we directly did our first live-show. Luckily Andreas Brinke of [ B O L T ] was there that evening and did a fine recording directly from the mixing-board. And now you can hear this very first and fully succesful melting of our different aestethics in sound: With the first part of the show I added micro-sounds to the noise, mainly emphasizing the moves of Moloch + E.H.E., for the second part I choosed drones, somehow earthening the sound. As with the music, we made it with this record: it is completely D.I.Y.; the records have been pressed on natural-clear vinyl, the sleeves are printes by ourselves, using different film-stills from the original visuals. Any cover now is made of two sheets of printed transparent paper put into a transparent plastic bag. With the record being transparent also, you have a very nice see-through / three dimensional effect... Look at it while you crank up the volume! The records are available from us directly. And please come to our release show at AZ Muehlheim / Ruhr on January 4th; with a lot of other artists on stage also..." [Hellmut Neidhardt]	2019	€16.00
N[27] / TZESNE	theBelt	LP	"N is the moniker of Dortmund-based German experimental guitarist Hellmut Neidhardt. June marks the release of two new records, including a second collaboration with Tzesne (ES). After a first very fruitful collaboration with Basque sound artist Txesus Garate alias TZESNE for the album CARRISSALS, released in 2011 by Denovali Records, the artistic vital necessity to exchange and work together carried on. In contradistinction to their collaborational debut Carrissals, where warm and dark qualities of drone interweaved – blended with Tzesne’s distinctive field recordings – they left the bright nature of that imaginary sundried place in Spain behind to take a leap into the harsh environment of the post-industrial landscape, being the inspiration of their upcoming release named THE BELT. Both artists share the interest of reflecting the conditions of a chosen location. Usually a an existing place gives inspiration for N’s sound research as distinguished from Tzesne, who collects field recordings from a wider area and manipulates them in the phase of post-production to a rather diffuse imprint. Way more heavy and dark is the impression, which THE BELT causes, right after giving a listen to its first minutes. The smell of bygone plants is synaesthetically floating within the soundscape, though trails to the dawn of a new era are roughly outlined. The four-track album features the tracks “Weaving A Wall”, “Beton”, “Bold Backwards” and “IkKky”. Limited to 100 LPs." [label info] www.denovali.com	2014	€28.00
NADJA	Labyrinthine	CD	Four extended tracks of atmospheric doom sludge, each with a different guest vocalist: Alan Dubin (Gnaw, Khanate), Rachel Davies (Esben & The Witch), Lane Shi Otayonii (Elizabeth Colour Wheel), & Dylan Walker (Full of Hell). Nadja's latest full-length offering Labyrinthine, recorded during the pandemic and concurrently with their Southern Lord album Luminous Rot, finally sees a CD release on the band's own label, Broken Spine. Labyrinthine explores themes of identity and loss, monstrosity and regret, extreme asceticism, the differences between labyrinths and mazes, taking inspiration from Haruki Murakami's Killing Commendatore, Ursula K. LeGuin's The Tombs Of Atuan, and Victor Pelevin's reinterpretation of the story of the minotaur and Ariadne, The Helmet Of Horror. While this might be Nadja's heaviest, doomiest album to date, it is unique in the band's extensive catalog as each track features a guest vocalist: Alan Dubin, legendary American vocalist from O.L.D., Khanate currently Gnaw; Rachel Davies, vocalist and bassist from the British band, Esben & The Witch; Lane Shi Otayanii, a Chinese multi-media artist and vocalist in Elizabeth Colour Wheel; and Dylan Walker, American vocalist from grindcore/noise band Full Of Hell. Nadja has released numerous albums on many different underground labels -- Alien8 Recordings, Daymare Records, Robotic Empire, Hydrahead Records, Gizeh Records, and Important Records, to name a few. The duo has toured extensively around the world, including performances at such festivals as SXSW, FIMAV, Roadburn, Donaufest, Le Guess Who, Incubate, and Unsound, and has shared the stage with such artists as Earth, OM, Khanate, Tim Hecker, Ben Frost, and Godflesh. Mastered by James Plotkin, artwork by HLG. Released on CD by Broken Spine & limited cassettes by: Katuktu Collective (US), Cruel Nature Records (UK), Bad Moon Rising (Taiwan), Adagio830 (Germany), Muzan Editions (Japan), UR Audio Visual (Canada), Pale Ghoul (Australia), & WV Sorcerer (France/China). brokenspineprods.bandcamp.com katuktucollective.bandcamp.com/album/labyrinthine (US) cruelnaturerecordings.bandcamp.com/album/labyrinthine (UK) badmoonrising.bandcamp.com/album/labyrinthine (TW) adagio830-records.bandcamp.com/album/labyrinthine (DE) muzaneditions.bandcamp.com/album/labyrinthine (JP) uraudiovisual.bandcamp.com/album/ur-046-labyrinthine (CA) paleghoulrecordings.bandcamp.com (AUS) wvsorcerer.bandcamp.com/album/labyrinthine (FR) Aidan Baker - guitars, drum machine Leah Buckaeff - bass Alan Dubin - vocals Rachel Davies - vocals Lane Shi Otayonii - vocals Dylan Walker - vocals https://nadja.bandcamp.com/album/labyrinthine	2022	€13.00
	Labyrinthine	LP	Four extended tracks of atmospheric doom sludge, each with a different guest vocalist: Alan Dubin (Gnaw, Khanate), Rachel Davies (Esben & The Witch), Lane Shi Otayonii (Elizabeth Colour Wheel), & Dylan Walker (Full of Hell). Nadja's latest full-length offering Labyrinthine, recorded during the pandemic and concurrently with their Southern Lord album Luminous Rot, finally sees a CD release on the band's own label, Broken Spine. Labyrinthine explores themes of identity and loss, monstrosity and regret, extreme asceticism, the differences between labyrinths and mazes, taking inspiration from Haruki Murakami's Killing Commendatore, Ursula K. LeGuin's The Tombs Of Atuan, and Victor Pelevin's reinterpretation of the story of the minotaur and Ariadne, The Helmet Of Horror. While this might be Nadja's heaviest, doomiest album to date, it is unique in the band's extensive catalog as each track features a guest vocalist: Alan Dubin, legendary American vocalist from O.L.D., Khanate currently Gnaw; Rachel Davies, vocalist and bassist from the British band, Esben & The Witch; Lane Shi Otayanii, a Chinese multi-media artist and vocalist in Elizabeth Colour Wheel; and Dylan Walker, American vocalist from grindcore/noise band Full Of Hell. Nadja has released numerous albums on many different underground labels -- Alien8 Recordings, Daymare Records, Robotic Empire, Hydrahead Records, Gizeh Records, and Important Records, to name a few. The duo has toured extensively around the world, including performances at such festivals as SXSW, FIMAV, Roadburn, Donaufest, Le Guess Who, Incubate, and Unsound, and has shared the stage with such artists as Earth, OM, Khanate, Tim Hecker, Ben Frost, and Godflesh. Mastered by James Plotkin, artwork by HLG. Aidan Baker - guitars, drum machine Leah Buckaeff - bass Alan Dubin - vocals Rachel Davies - vocals Lane Shi Otayonii - vocals Dylan Walker - vocals https://nadja.bandcamp.com/album/labyrinthine	2024	€20.00
NADJA / AIDAN BAKER / LEAH BUCKAREFF	Trinity	CD	Als NADJA zusammen mit ALLSEITS in der "Friese" in Bremen auftraten, gab DIE STADT diese CD heraus, mit dem wohl ersten veröffentlichten Solo-Track von der weiblichen NADJA-Hälfte LEAH BUCKAREFF! Dieser erscheint tatsächlich wie ein Gegenpart zu AIDAN BAKERS Musik-Kunst, ist aber bassiger & abgründiger, pulsierend & gefährlich ... allein dieses Stück "Socorro" wäre das Geld wert! Ansonsten gewohnte Klasse ! "A special NADJA CD also feat. one solo track by both members Aidan Baker & Leah Buckareff. Released in conjunction with a live performance on 20. April 2008 in Bremen. Limited edition of 500 numbered copies in full color sleeve. Total playing time: 38:35 min. Track listing: 1. Aidan Baker 'Carrizozo' 10'31 2. Leah Buckareff 'Socorro' 10'42 3. Nadja 'Jornada del Muerto' 17'22 " [label info] "Die Stadt always takes great care of their artists. Once you belong to the label, the label will carry all your releases, and when in Bremen, Stadt of Die Stadt, the artists will play and there is a CD for the occasion. This trinity of a matter of one plus one is three. Nadja is the duo of Leah Buckareff and Aidan Baker, so they can do three things on the same night. On April 20th (a day with historic significance... Bebe Barron died that day this year for instance) they visited Bremen and on 'Trinity' there are two solo pieces and one duo piece. It's interesting to see how things add up, or perhaps don't. Nadja is in full form here, with a loud rocking piece: the drum machine hammers time away, while guitar and bass play distorted, meanwhile looping their sound. A strong 'hole' in the sound adds an odd angle to the piece. A far cry away from Baker's solo piece, made of carefully strummed guitars which are looped around. Drones are faded in over the course of ten minutes and things remain subtle. In the middle, literally, is Buckareff solo for bass. Also starting out quiet things are unmistakably but the distortion pedal is already lurking underneath and adds a more noisy tone to the music. If these names don't mean anything to you, but see their music all around, then this is absolutely a fine place to start. Trademark pieces everywhere." [FdW / Vital Weekly] label-website: www.diestadtmusik.de	2008	€13.00
NADJA / NETHERWORLD	Magma to Ice	CD	10. Ausgabe in der FEAR DROP / FARIO - Split & Collaboration-Serie, diesmal sind die kanadischen Drone-Metal Überflieger NADJA und der italienische POLAR-AMBIENT Act NETHERWORLD in interessanter Kombination zu hören - 3 Stücke von NETHERWORLD, ein langes von NADJA welches eine einzige gigantische Drone-Blase darstellt, und eine fast 10minütige Zusammenarbeit). Kommt im überdimensionierten Vollfarb / Aufklapp-Cover! Eine Verbindung von "heissem" und "kaltem" Ambient wie man sie nur selten auf einer CD finden wird. "Talented Italian ambient composer Alessandro Tedeschi runs the Glacial Movements record label and plays music as Netherworld. His fascination for polar landscapes and soundscapes makes him close to industrial ambient pioneers such as Thomas Köner, Rapoon, Biosphere and Lull. Icy, windy, droning and deeply "protomelodic" at once, his music is a poetic translation of the ice floe. For this record, he used processed fragments of classical music. Nadja is the drone / doom / ambient duo of Canadian musicians Aidan Baker and Leah Buckareff. Their behemoth of sound is a construction of heat, weight, loop and vapour. Here, they had to break Netherworld¹s ice and find a way to the red core of Earth. The common track brings heat onto ice, which warms up, crackles and soon melts. As a conclusion, the long piece by Nadja is total heat. This is Nadja "unrhythmed", which means pure lava. This CD features exclusive graphic concepts and artwork by Alan McClelland (www.eyelyft.com) " [label info] "French label Fario is not very active: this is their tenth release in about as many years. The label is an off shoot of the excellent (but en Francais) magazine Fear Drop, whose only goal seems to release a CD with the meeting of two artists. They present each a couple of solo pieces and one collaborative piece. Lopez & Roden, Troum & Christian Renou, Rapoon & Desaccord Majeur and Vromb & Telepherique went ahead (among others) and here it's the turn for Alessandro Tedeschi, also known as Netherworld, and owner of the Glacial Movements label and Aidan Baker and Leah Buckareff, from Canada and best known as Nadja. Netherworld's three pieces are an excellent sound example of his own label: glacial movements. A very apt description. Still music of slow moving, utter deep movements. A turtle moves faster I think. A deep bass rumble in 'Closing To A Glacial Dawn'. Sounds like Biosphere or early Thomas Köner, but surely with a fine twist of his own, apparently all made with snippets of classical music. I skipped the collaboration to save that until the end and first heard the piece by Nadja, which spans nineteen minutes. A giant explosion takes place, and it sounds like a 180 degrees turn around from the Netherworld tracks. Yet that is only deceiving the listener. Yes, Nadja is much louder, but it's the same side of the ambient at work here: long sustaining sounds, feeding through effects, creating a ringing effect in your ear. Absense of rhythm is noted. How exactly their collaborative effort was recorded is a bit unclear but both ends meet up well here. There is the glacier like sounds of Netherworld, amplified of course to compete with the harsher sounds of Nadja, who mix in their own blend of guitars and electronics. Placed as the fourth track on the CD it makes perfect sense, forming a perfect bridge between the trio of silence of Netherworld and the solo outburst of Nadja. A perfect collaboration." [FdW / Vital Weekly] labelwebsite FARIO: http://www.feardrop.net/fario.html	2008	€13.00
NADJA & TROUM	Dominium Visurgis	CD	"TRANSGREDIENT RECORDS TR-07 RELEASE DATE : 15. May 2010 8-PANEL DIGIPACK w. METALLIC COPPER PRINT FORMAT: FULL-LENGTH CD PLAYTIME: 49:30 min FILED UNDER: DRONE NADJA & TROUM "Dominium Visurgis" This is something you could call a "dreamlike liaison". When the Canadian "avant metal / drone doom"-duo NADJA (who name TROUM as one of their early influences) and the German post-industrial / experimental drone pioneers TROUM (years ago active as MAEROR TRI who are still discovered by many drone-fans these days) combine their exceptional styles, they form something even vaster as usually known from them. These three long collaboration tracks were recorded as a result of a spontaneous improvisation in April 2008 "live in the studio" near the Weser-river in Bremen, Germany, and suck you in with their powerful & emotional drone melancholy that works in many micro-& macrocosmic ways, using electric & acoustic guitars, bass, accordeon, drum-machine & voice." [label info / press release] "In dieser ersten Zusammenarbeit von Troum (Baraka[H] + Glit[s]ch) aus Deutschland und Nadja (Leah Buckareff + Aidan Baker) aus Kanada schaffen beide Bands etwas, dass vielen derartigen Kollaborationen eben nicht gelingt: den eigenen Stil beizubehalten und gleichzeitig offen zu sein, zentrale Elemente des musikalischen Partners gleichberechtigt einzubinden und eine echte Mischung entstehen zu lassen. Sei es aus dem Wissen darum, dass dies nur in einer direkten Konfrontation geht, sei es aus anderen Gründen und allein der glückliche Zufall hat es bewirkt, Troum und Nadja haben mit „Dominium Visurgis“ keine e-mail Zusammenarbeit auf CD gebannt, sondern sich tatsächlich im Studio getroffen und die vorliegenden drei Stücke in enger Zusammenarbeit komponiert und aufgenommen. Denn nur die dann entstehende derartig intensive Interaktion (und eigentlich: die daraus resultierende gegenseitige Inspiration) lässt eine Atmosphäre entstehen, die noch über die eigentliche Musik hinauszustrahlen scheint, den Wirkungskreis der Musik erweitert. Bei aller Qualität, die die VÖs beider Bands sonst haben, „Dominium Visurgis“ ist etwas besonderes. [Hellmut Neidhardt aka "N", Unruhr] "...Ein dröhnender, träumender Urozean, ein Fluss ohne Ufer, brandet, brodelnd und pfeifend, an Urgestade, die erst noch im Werden sind. Das Pfeifen lässt einen für einen Moment das Schreien von Phantommöven über der summenden, wogenden, atmenden Panthalassa halluzinieren. Der ‚atmende‘ Blasebalg erklingt nun auch als webendes Akkordeon neben klingelnden Gitarren. Die beiden Duos sind komplett zu einem Quartett verschmolzen. Man starrt gebannt auf, ach was, durch seine Schuhe hindurch beinahe bis zum Nabel der Welt." [R. Dittmann, Bad Alchemy] "To some these two names represent the absolute top of the drone music, and who am I to disagree? Troum, the follow-up to Maeror Tri and Nadja, the duo of Leah Buckareff and Aidan Baker, have both presented themselves through a line of releases, displaying the finer sense of drone music, through the use of guitars, accordeon, voice, rhythm machine effects and such like. In April 2008 they did a spontaneous improvisation in the Troum studio, which now is released on CD. This is indeed the top of their scene: guitars are set to play drones, through the use of e-bows, through lots of sound effects, loop stations and all such like. They do the usual slow built up towards a mighty crescendo, fly through air, and then land safely through a long decrescendo. Headspace music. Perhaps not the kind of music for a sunny day like it is today, but more for grey, rainy days. They are mood musicians and one has to be open to these particular dark moods, but if you open up then they are more than willing to transport you through these dark woods. An excellent work, hardly to believe one of some afternoon improvisation." [FdW/Vital Weekly] "... On albums like this, one again realizes just how many shades Troum’s self-repeating, subtly changing structures contain. When joined to parts provided by other talented artists, they shine with incredible power and enchantment, which one has to admire, totally captivated. This is precisely what happens on Dominium Visurgis." [Jiituomas, kuolleenmusiikinyhdistys.net]	2010	€12.00
NAM-KHAR	Sur Chöd	CD	The Ritual/Drone collective Nam-Khar return to our Winter-Light label with their latest inner outing entitled 'Sur Chöd'. This is Nam-Khar's second release with Winter-Light, after the very successful and well received 'Secret Essence/Sangwa Dupa' album in 2018. The music has evolved .... "Sur Chöd" is composed of 6 long-form pieces, each piece transforming and morphing in to a musical entity within it's own right. The traditional percussive elements are still there in the music, deployed in full force alongside more subtle uses of these instruments. It is the use of the drone and bass elements that have changed on this release. The small vacuous pockets which Nam-Khar use so well are soon filled with warm, thick drones, synthesised sweeps and enlightening cosmic sounds. It once again creates that space for the listener to move into for contemplation and reflection, to energise and focus through the welcome isolation space created by Nam-Khar's atmospherics. Pushing the inner-traveller ever further onwards, along different trodden paths. Ritual ambient, dark ambient, drone, industrial and subtle tinges of dark-jazz await the listener on this deep and diverse release from Nam-Khar. https://winter-light.bandcamp.com/album/sur-ch-d "Two years after its first album on Winter-Light label, Nam-Khar is back with the “Sur Chöd” full length, which seems as a natural evolution of the project, yet while keeping its specific style of Eastern aural mysticism, the project is infusing a handful of fresh spicy ingredients to their music. Already on the first track based on the sounds and echoes of horns and gongs you may notice a subtle yet quite atmospheric layer of the shade and colour I cannot recall it was present on “Secret Essence/Sangwa Dupa”. But it is with the second piece, “aDre” that all the fun begins. Of course the word “fun” should be filtrated by sensitivity of an introversive dark ambient supporter, like me for that matter. How the drones flow, blend and morph one into another… It is made with all the principles of the genre, takes you far above the Himalayan peaks and lets you float blissfully. If you know me a little, you know that I’m not so fond of the pitch-black side of the genre. There always should be at least a faint glimpse of light, an atmospheric or oneiric foothold, so to speak. On “Sur Chöd”, Nam-Khar finds a perfect balance while maintaining this “tibetan” spirit from the previous releases they managed to create a veil of still mystic, yet a more universal aura. Something that cannot be limited by the monikers related to a certain culture. It is as profound as the Nature itself. It still can be overwhelmingly dark, like “Dregs Pa”, yet I feel this time it is a facade, an opening gate for the unknown, vast realms of the world beyond. How the drones intermingle one with another forming these beautifully esoteric structures may at some points recall the darker works by Klaus Wiese or Mathias Grassow and since I’m a die-hard fan of both German artists, I can’t be more happy of that fact. “gNod sybyin” is evidently the best example. Along with these specific eastern drums and a silky glacial background it results with possibly the most sublime composition of the whole album. On this album Nam-Khar has evolved into a five person ensemble. I’m not sure exactly how the personal constellations looked in the past (most of the time I was convinced that it is a one-man project, to be honest), but I suspect there’s some fresh blood on the board this time and this different perspective is noticeable, yet it doesn’t conceal what Nam-Khar is about. Nice example of stimulating diversity in favor of the project’s coherent style is “Gangs chen mdzod lnga”. Atmospheric scapes, reverbed tinkles, ritual sequences and silence being a crucial part of the whole composition. No single unwanted sound. The final track has been made in collaboration with Akoustik Timbre Frequency, the project by Priapus23, who’s also known as a CEO of a ritual dark ambient label Sombre Soniks. And this is another “Sur Chöd” highlight, an unconditionally stunning fusion of divine drones, unrushed beats and a handful of tiny ornamentations. This one may not be exceedingly intricate, but in this case the artists prove that simplicity is a virtue and I found myself listening to “T’ew Rang” several times in a row, on repeat. I would say it’s Nam-Khar’s best work up-to-date. I still appreciate “Secret Essence/Sangwa Dupa”, as I wrote in a review that album was more than decent, but I have to admit that I find some moments too “straightforward dark” to me, so I have to be in a proper mood to play that CD. “Sur Chöd”‘s palette of emotions is far more broad and giving even more possibilities for your own inner journeys. Where will it take you? Check for yourself." [Santa Sangre mag]	2020	€13.00
NATURE OF DISLOCATION	Elements	mCD-R	"NATURE OF DISLOCATION is a japanese collective gathering various multimedia artists (video, music, photo, performance). music is created by HIROKI SASAJIMA (who's already put out some solo netreleases) and TAKAHISA HIRAO. the sound of NATURE OF DISLOCATION is simple and pure ambient..." [label info] www.taalem.com	2009	€5.00
NECKS, THE	Bleed (colour vinyl)	LP	https://thenecksau.bandcamp.com/album/bleed "Back in full force, Northern Spy returns with what might just be the best record we’ve heard all year: The Necks’ “Bleed”. A creatively visionary and astounding immersion into the band’s singular realm of sonority, unfolding at a glacial pace over the 42-minute composition’s duration, these two vinyl sides comprise some of the most tense and ambitious moments we’ve ever heard from one of the most important bands working today. Since their founding during the second half of the 1980s, the Australian trio, The Necks - Chris Abrahams, Lloyd Swanton, and Tony Buck - have slowly emerged as an entirely singular force within the global landscape of experimental music, weaving remarkable, free flowing improvisations that rest within the border regions between Minimalism and jazz. Marked by astounding sense of artistry and musicianship, there is, quite simply, no other band like them. Just a year on from 2023’s absolute stunner, “Travel” - The Neck’s second outing with the American imprint Northern Spy - the trio returns to the label with “Bleed”, a single, 42-minute composition, unfurling at a delicate, glacial paces that seems to distill the nearly 40 years of collaboration within its dazzling interplay, endlessly pushing toward new, uncharted ground. Issued by Northern Spy in two beautifully produced vinyl editions - black and green - as well as a CD edition, housed in a deluxe wallet with printed inner sleeve, it’s yet another towering and entirely engrossing achievement by one of the greatest bands working today. Drawing upon the diverse musical backgrounds of each of its members, The Necks were founded in Sydney, Australia, in 1987 by Chris Abrahams (piano / Hammond organ), Tony Buck (drums / percussion / electric guitar) and Lloyd Swanton (bass). Even from their earliest emergence into the global consciousness with their debut full-length, 1989's “Sex”, the group entirely stood out from the pack, demarcating a minimal zone at the more experimental reaches of jazz (if it can even be called that thing). Defined by a rare sense of acoustic purity, restraint, and a singular creative vision, guided into being by unparalleled musicianship and mutual respect amongst its three members, over the decades, and across roughly two dozen full-lengths, The Necks have ebbed and flowed, creating a music that feels remarkably open while precise, their pieces evolving slowly over their durations, focusing the ear toward microscopic details, in understated tapestries of sonority that engage an endless sense of surprise from the most elemental means. In the simplest sense, The Necks are a band that feel as though they have nothing to prove - three artists in close conversation, easing forward as a single, collective force - while making music that is earth-shatteringly understated to profound effect: the minimal, maximised. Their latest, “Bleed”, might just be their most striking statement, to this effect, to date. Comprising a single, 42-minute composition, the album displays a clearer bearing of its sophisticated inner workings and tensions than some of the band’s previous releases. Constructed from the trio’s familiar pallet of structures, “Bleed” is a glacial movement of rhythmical and textural elements, and tones produced by piano, bass, and drums, with guitar occasionally woven in. An open and spacious image of creative restraint, Abrahams, Buck, and Swanton’s interventions and responses hang in the air with grace, flirting within an expanded sense of time that withholds the satiation of tension and release that has helped define The Necks' sound over the years, feeling at times so deconstructed and drawn out, that it, in moments, undermines an explicit sense of musicality: presenting a musical journey where the arrival is the journey itself. Nothing short of astounding, and as close to a masterpiece as The Necks have ever produced, “Bleed” is a listening experience that holds the potential of changing our perceptions of music itself and the possibilities presented by group collaboration. In the most subtle of ways, it represents a giant leap for the group. If The Necks are a group that sound like no one else, “Bleed” is a record that almost defines that sound but could only be made by them. Issued by Northern Spy in two beautifully produced vinyl editions - black and green - as well as a CD edition, housed in a deluxe wallet with printed inner sleeve, this a ten out of ten and beyond. Easily among the best records of the year and absolutely essential for everyone under the sun." [Soundohm] "Australian minimalist-jazz trio The Necks’ new studio album, Bleed explores a sublime language of stillness. With a single, 42-minute composition, The Necks masterfully express the unspeakable beauty of decay and space in yet another totally distinct entry in a vast and stunning body of work." [press release]	2024	€30.50
	Bleed	CD	https://thenecksau.bandcamp.com/album/bleed "Back in full force, Northern Spy returns with what might just be the best record we’ve heard all year: The Necks’ “Bleed”. A creatively visionary and astounding immersion into the band’s singular realm of sonority, unfolding at a glacial pace over the 42-minute composition’s duration, these two vinyl sides comprise some of the most tense and ambitious moments we’ve ever heard from one of the most important bands working today. Since their founding during the second half of the 1980s, the Australian trio, The Necks - Chris Abrahams, Lloyd Swanton, and Tony Buck - have slowly emerged as an entirely singular force within the global landscape of experimental music, weaving remarkable, free flowing improvisations that rest within the border regions between Minimalism and jazz. Marked by astounding sense of artistry and musicianship, there is, quite simply, no other band like them. Just a year on from 2023’s absolute stunner, “Travel” - The Neck’s second outing with the American imprint Northern Spy - the trio returns to the label with “Bleed”, a single, 42-minute composition, unfurling at a delicate, glacial paces that seems to distill the nearly 40 years of collaboration within its dazzling interplay, endlessly pushing toward new, uncharted ground. Issued by Northern Spy in two beautifully produced vinyl editions - black and green - as well as a CD edition, housed in a deluxe wallet with printed inner sleeve, it’s yet another towering and entirely engrossing achievement by one of the greatest bands working today. Drawing upon the diverse musical backgrounds of each of its members, The Necks were founded in Sydney, Australia, in 1987 by Chris Abrahams (piano / Hammond organ), Tony Buck (drums / percussion / electric guitar) and Lloyd Swanton (bass). Even from their earliest emergence into the global consciousness with their debut full-length, 1989's “Sex”, the group entirely stood out from the pack, demarcating a minimal zone at the more experimental reaches of jazz (if it can even be called that thing). Defined by a rare sense of acoustic purity, restraint, and a singular creative vision, guided into being by unparalleled musicianship and mutual respect amongst its three members, over the decades, and across roughly two dozen full-lengths, The Necks have ebbed and flowed, creating a music that feels remarkably open while precise, their pieces evolving slowly over their durations, focusing the ear toward microscopic details, in understated tapestries of sonority that engage an endless sense of surprise from the most elemental means. In the simplest sense, The Necks are a band that feel as though they have nothing to prove - three artists in close conversation, easing forward as a single, collective force - while making music that is earth-shatteringly understated to profound effect: the minimal, maximised. Their latest, “Bleed”, might just be their most striking statement, to this effect, to date. Comprising a single, 42-minute composition, the album displays a clearer bearing of its sophisticated inner workings and tensions than some of the band’s previous releases. Constructed from the trio’s familiar pallet of structures, “Bleed” is a glacial movement of rhythmical and textural elements, and tones produced by piano, bass, and drums, with guitar occasionally woven in. An open and spacious image of creative restraint, Abrahams, Buck, and Swanton’s interventions and responses hang in the air with grace, flirting within an expanded sense of time that withholds the satiation of tension and release that has helped define The Necks' sound over the years, feeling at times so deconstructed and drawn out, that it, in moments, undermines an explicit sense of musicality: presenting a musical journey where the arrival is the journey itself. Nothing short of astounding, and as close to a masterpiece as The Necks have ever produced, “Bleed” is a listening experience that holds the potential of changing our perceptions of music itself and the possibilities presented by group collaboration. In the most subtle of ways, it represents a giant leap for the group. If The Necks are a group that sound like no one else, “Bleed” is a record that almost defines that sound but could only be made by them. Issued by Northern Spy in two beautifully produced vinyl editions - black and green - as well as a CD edition, housed in a deluxe wallet with printed inner sleeve, this a ten out of ten and beyond. Easily among the best records of the year and absolutely essential for everyone under the sun." [Soundohm] "Australian minimalist-jazz trio The Necks’ new studio album, Bleed explores a sublime language of stillness. With a single, 42-minute composition, The Necks masterfully express the unspeakable beauty of decay and space in yet another totally distinct entry in a vast and stunning body of work." [press release]	2024	€16.00
	Bleed	LP	https://thenecksau.bandcamp.com/album/bleed "Back in full force, Northern Spy returns with what might just be the best record we’ve heard all year: The Necks’ “Bleed”. A creatively visionary and astounding immersion into the band’s singular realm of sonority, unfolding at a glacial pace over the 42-minute composition’s duration, these two vinyl sides comprise some of the most tense and ambitious moments we’ve ever heard from one of the most important bands working today. Since their founding during the second half of the 1980s, the Australian trio, The Necks - Chris Abrahams, Lloyd Swanton, and Tony Buck - have slowly emerged as an entirely singular force within the global landscape of experimental music, weaving remarkable, free flowing improvisations that rest within the border regions between Minimalism and jazz. Marked by astounding sense of artistry and musicianship, there is, quite simply, no other band like them. Just a year on from 2023’s absolute stunner, “Travel” - The Neck’s second outing with the American imprint Northern Spy - the trio returns to the label with “Bleed”, a single, 42-minute composition, unfurling at a delicate, glacial paces that seems to distill the nearly 40 years of collaboration within its dazzling interplay, endlessly pushing toward new, uncharted ground. Issued by Northern Spy in two beautifully produced vinyl editions - black and green - as well as a CD edition, housed in a deluxe wallet with printed inner sleeve, it’s yet another towering and entirely engrossing achievement by one of the greatest bands working today. Drawing upon the diverse musical backgrounds of each of its members, The Necks were founded in Sydney, Australia, in 1987 by Chris Abrahams (piano / Hammond organ), Tony Buck (drums / percussion / electric guitar) and Lloyd Swanton (bass). Even from their earliest emergence into the global consciousness with their debut full-length, 1989's “Sex”, the group entirely stood out from the pack, demarcating a minimal zone at the more experimental reaches of jazz (if it can even be called that thing). Defined by a rare sense of acoustic purity, restraint, and a singular creative vision, guided into being by unparalleled musicianship and mutual respect amongst its three members, over the decades, and across roughly two dozen full-lengths, The Necks have ebbed and flowed, creating a music that feels remarkably open while precise, their pieces evolving slowly over their durations, focusing the ear toward microscopic details, in understated tapestries of sonority that engage an endless sense of surprise from the most elemental means. In the simplest sense, The Necks are a band that feel as though they have nothing to prove - three artists in close conversation, easing forward as a single, collective force - while making music that is earth-shatteringly understated to profound effect: the minimal, maximised. Their latest, “Bleed”, might just be their most striking statement, to this effect, to date. Comprising a single, 42-minute composition, the album displays a clearer bearing of its sophisticated inner workings and tensions than some of the band’s previous releases. Constructed from the trio’s familiar pallet of structures, “Bleed” is a glacial movement of rhythmical and textural elements, and tones produced by piano, bass, and drums, with guitar occasionally woven in. An open and spacious image of creative restraint, Abrahams, Buck, and Swanton’s interventions and responses hang in the air with grace, flirting within an expanded sense of time that withholds the satiation of tension and release that has helped define The Necks' sound over the years, feeling at times so deconstructed and drawn out, that it, in moments, undermines an explicit sense of musicality: presenting a musical journey where the arrival is the journey itself. Nothing short of astounding, and as close to a masterpiece as The Necks have ever produced, “Bleed” is a listening experience that holds the potential of changing our perceptions of music itself and the possibilities presented by group collaboration. In the most subtle of ways, it represents a giant leap for the group. If The Necks are a group that sound like no one else, “Bleed” is a record that almost defines that sound but could only be made by them. Issued by Northern Spy in two beautifully produced vinyl editions - black and green - as well as a CD edition, housed in a deluxe wallet with printed inner sleeve, this a ten out of ten and beyond. Easily among the best records of the year and absolutely essential for everyone under the sun." [Soundohm] "Australian minimalist-jazz trio The Necks’ new studio album, Bleed explores a sublime language of stillness. With a single, 42-minute composition, The Necks masterfully express the unspeakable beauty of decay and space in yet another totally distinct entry in a vast and stunning body of work." [press release]	2024	€29.50
NEHIL, SETH	Bounds	LP	On “Bounds”: „Bounds“ consists of 11 electro-acoustic compositions, whose first versions were constructed by Seth Nehil for the “Concerts in the Dark” series at Moers Festival 2012 curated by aufabwegen. In 2013 Seth did the final versions and added some new pieces. “Bounds” is an exciting trip through sound manipulation, treated drums and very detailed textures. The overall atmosphere is dark but the way the sounds are arranged and connected speaks of an almost scientific clarity. Bounds is a new, more synthetic direction for Seth Nehil. Originally composed for a festival of music in complete darkness, these pieces treat recorded sound as infinitely malleable and transformable. Starting with acoustic percussive sources (drums, gongs, cymbals, vibraphones, etc.), recordings were warped beyond recognition, exploring the juncture between rhythm and pitch. Sonic impulses were subjected to micro-editing techniques to produce new, alien forms which were then fragmented into grains, pulses and tones or built up into rhythms, loops and cycles. Convolution reverb was used extensively to color timbres and place sounds into unusual spaces. These eleven short tracks are full of expanses, interruptions and repetitions. These are dynamic compositions that sound like nothing else. Seth Nehil – Biography 2014 Seth Nehil (b. 1973) is a sound and video artist making concerts, performances and installations. Nehil meshes manipulated acoustic recordings, voices, instruments, granular synthesis and field recordings into richly detailed spaces. His compositions draw equally from classic musique concréte, film sound design, hip hop production and noise to form a uniquely hybrid sonic world, full of off-kilter rhythms, sudden junctures and explosive bursts. “…A shapliness that’s unusual in abstract music… hugely satisfying.” – Brian Marley, The Wire In addition to recorded and live-mixed sound, Seth Nehil has collaborated with dance and video artists, choreographers, and theater companies to produce original sound scores, multimedia performances and video installations. He has created his own original performance pieces, bringing together multi-screen video, multi-channel recorded sound and live performers to explore quasi-narrative spaces between cinema and dance. He is currently conducting research for an experimental documentary on the use of “attack therapy” and the historical roots of child behavior modification. Seth Nehil has released over 15 albums of experimental sound on international labels, including Sonoris (France) and Senufo Editions (Italy). He has given concerts across Europe, Japan and the US. Nehil received an MFA in Music/Sound from Bard College. He teaches sound design, sound art and video at the Pacific Northwest College of Art, Washington State University and Portland State University. www.sethnehil.artdocuments.org www.aufabwegen.com	2014	€18.00
NEHIL, SETH & BRUNO DUPLANT	(else)where	do-CD BOX	" (else)where is a collaboration between composers Bruno Duplant + Seth Nehil and photographers TJ Norris + Harrison Higgs, consisting of two CDs and 10 cards in a box set. Fifteen soundscapes, each a consistent length (5:00 and 10:00) are placed in conversation with 19 images, each a pairing of halves. Cards and sounds may be shuffled by the listener to create new juxtapositions. A poem by David Grubbs completes the set. With Higgs & Nehil in the Pacific Northwest, Norris in Texas, and Duplant in Northern France, the artists exchanged materials in 2018 - 19, through multiple iterations of reconfiguration and response. They bring previous histories and connections to this project, with Norris curating Higgs and Nehil into art exhibitions and writing the liner notes for Duplant’s Quelques Usines Fantômes N°3, while Higgs has created numerous album covers for Nehil since 2008. Duplant and Nehil continued their sonic collaboration with (eco)systems on Stellage in 2021 and The Memory of Things on Sublime Retreat in 2022. Distant instruments and voices, corroded melodies, electronic insects and low tones drift across a series of unedited field recordings - captured moments in time and space. A dream narrative emerges from fractured frames. Intersections of locations contain a collection of deceptions, interruptions and overlays. Discovered textures are placed alongside sculptural interventions and synthetic manipulations, in dialogue with the accidental. File under: ambient, noise, field recording, musique concréte, sound art Bruno Duplant: piano, tapes, electronic devices, field recordings, percussion Seth Nehil: field recordings, electronics Harrison Higgs & TJ Norris: photographs, digital manipulation David Grubbs: poem https://aufabwegen.bandcamp.com/album/else-where	2024	€25.00
NEHIL, SETH & JGRZINICH	Stria	CD	Fast schon beängstigend schöne Drones & „archaic surroundings“ von den beiden konkreten Klangsphärikern aus den USA.. zwischen stehenden, sich stets modulierenden Klangwolken und konkret-fliessenden Sounds... Sehr schönes Cover auch, einer der definitiv besten DRONE-CDs des laufenden Jahres ! Absolutely wonderful new release, nicely packed and designed and for a good price! “...The exploratory focus of stria/confluence is the idea of resonance; the phenomenon of natural vibrations that give rise to intensified or stable structures within sound bodies and fields. In the production of these works, the composers' approached resonance in both the acoustic sound behavior and the social phenomenon in group interaction and/or participation within the context of sound generating activities. It was again applied to the studio in the use of massive multiplications and layerings, resulting in deeply transforming, evolutionary sound fields.. ”[from the press release] "Strangely enough, we had never managed to get any of these records in stock when it originally came out in 2002 as the companion to the now out of print album Confluence, which had been released on the Intransitive label. Stria is one of many collaborative projects between these two impressive sound artists, straddling the realm of dronescape delirium and dislocated field recordings. Seth Nehil and John Grzinich first began working together in the humidity of Austin, Texas in the revolving door collective of Alial Straa, which also proved formative for Michael Northam and Olivia Block. But as all of these folks wandered to various corners of the globe (Grzinich in Estonia, Nehil to Portland, Block to Chicago, and who the hell knows where Northam currently calls home), the collaborations have become impressively focused projects, even as they take several years to complete. Like its companion piece, Stria centers upon the idea of resonance, spread across three longform pieces. The first of which collects various bowed tones from a huge ensemble of musicians and twists them all into a sinewy mass of slowburning drones and gradual progressions. The reference in the liner notes to Alvin Lucier makes complete sense in view of this impressive dronesmear crescendo on par with anything that Jonathan Coleclough or Organum had mustered. The second piece is more in keeping with Grzinich's recent work with clattering stone and found objects in concrete bunkers, as scrabbling sounds and tactile noises echo back and forth against murky atmospheres. The final piece returns to the drone work with motors agitating long thin wires with phase shifting oscillations and eerie turbulence rattling what otherwise would be some very pretty ambience, but instead becomes a sublime listening experience. An excellent piece of work all around." [Aquarius Records]	2002	€13.00
NEHIL, SETH & MATT MARBLE	Ecllipses	CD	Mysteriöse Geräuschmusik pur! Tolle Zusammenarbeit der beiden Herausgeber des exzellenten FO A RM - Magazins. Materialien und Objekte werden so bearbeitet, das lebendige fliessend-konkrete Klänge entstehen, deren Herkunft man nur erahnen kann. Alles ist in ständiger Bewegung, die Stücke nehmen z.T. dramatische, dronige Formen an, um dann wieder in Mikrosound-artige Fragmentsounds zu fallen, mal klingt es nach schwingenden selbst-gebauten Instrumenten, dann nach rauschenden field recordings... geniales Zeug zum genauen Zuhören & Sich-Versenken ! "First collaboration release between two American 'sound composters', Seth Nehil and Matt Marble. A dynamic whirlwind tour through states of ellipsis and eclipses, abrupt ruptures, reuniting and igniting. Where nothing is static for too long. Through an invigorating admixture of instruments, field recordings and various found matter, a compelling and mysterious world comes alive to spark the imagination." [label notes] "Naturalist aktionism? Sure, let's call it that. We can't really say that the Hermann Nitsch and Gunter Brus bloodletting as grand allegory is applicable to this collaboration between Portland based sound artists Seth Nehil and Matt Marble; but a rigorous body of work is definitely at hand. These two are the editors of the sound art journal FO A RM, and have both generated impressive bodies of conceptually minded compositions through field recordings, found objects, the almighty drone, and hand-built instruments. Here, Nehil and Marble wax poetic about the overlay of tactile sounds to emphasize the ruptures, holes, and negative spaces which may have been present on each layer of sound. So, instead of a gaping piece of unbroken ambience, Ecllipses is a tense and discordant album of rollicking textures which bristle and scrape against each other. Nehil and Marble revel in tumbles and scrabbles of what could be a revolving metal drum filled with various pine cones, twigs, and pebbles. Elsewhere, they focus upon churning bowed steel-strings, which offer buzzing clouds of softly rendered acoustic noise; and then soft pluckings of what sound like softened dulcimers drift into prolonged echo, hinting at avant- folk drones of Jewelled Antler (especially the Ov recordings) and Kemialliset Ystavat. Barring a minimal amount of signal processing and ring modulation, the album flourishes in the sodden palette of natural objects: wood, grass, leaves, soil, and rock."" [Aquarius Records review] www.and-oar.org	2008	€12.00
NEW BLOCKADERS (THE)	VIVA NEGATIVA Vol. 1	4 LP - Box	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 !! “Viva Negativa! – A Tribute To The New Blockaders” incl. collaborations with/reworkings by 75 avant garde//industrial/noise artists: Oren Ambarchi, Anomali, Ashtray Navigations, Emil Beaulieau, Benzo, Maurizio Bianchi, Cisfinitum, Controlled Bleeding, Dieter Muh, Evil Moisture, Freiband, Grunt, The Haters, Jason Kahn, Zbigniew Karkowski, Komafuzz, Kraang, Lockweld, Massimo, Daniel Menche, Thurston Moore, MSBR, Nocturnal Emissions, KK Null, Pita, Plethora, Prurient, Richard Ramirez, Scanner, Silvum, srmeixner, Asmus Tietchens, Treriksroset, Vortex Campaign, V/Vm, Keith Fullerton Whitman, John Wiese, Nobuo Yamada, Z’EV.” [label info] “....It's an overwhelming project, by it's size, it's quality both in music and cover art. A compendium of international noise music, a bold statement, which should belong in every home and an excellent example of how these things should be made.” [FdW / Vital Weekly]	2006	€60.00
	VIVA NEGATIVA Vol. 2	4 LP - Box	Full-Colour box w. 4 LPs containing TNB remix-material from C. RENOU, MNORTHAM, AUBE, RLW, VIOLENT ONSEN GEISHA, AMK, DAMION ROMERO, DAS SYNTHETISCHE MISCHGEWEBE, SPIRACLE, MERZBOW, WOLF EYES, INCAPACITANS, JIM O'ROURKE, DAVE PHILIPPS, BROKEN PENIS ORCHESTRA, LASSE MARHAUG, G. TONIUTTI, etc. etc. second part of this monstrous compilation project !! lim. 500 - only 250 for free distribution !! “Viva Negativa! – A Tribute To The New Blockaders” incl. collaborations with/reworkings by 75 avant garde//industrial/noise artists: AMK, Art Break, Aube, Bloxus, Alexei Borisov, Broken Penis Orchestra, Cheapmachines, Courtis, Das Synthetische Mischgewebe, Aaron Dilloway, Embudagonn 108, Eshak, Government Alpha, Idea Fire Company, Incapacitants, Lasse Marhaug, Merzbow, Kiyoshi Mizutani, mnortham, Jim O’Rourke, Dave Phillips, Plexia, Putrefier, Christian Renou, RLW, Damion Romero, Runzelstirn & Gurgelstock, Spiracle, Sudden Infant, Giancarlo Toniutti, Brendan Walls, Withdrawal Method, Wolf Eyes, Achim Wollscheid, Violent Onsen Geisha” [label info] “....It's an overwhelming project, by it's size, it's quality both in music and cover art. A compendium of international noise music, a bold statement, which should belong in every home and an excellent example of how these things should be made.” [FdW / Vital Weekly]	2006	€60.00
NIBLOCK, PHILL	Exploratory I	LP	Matière Mémoire present the new work of Phill Niblock: EXPLORATORY. One of the most beautiful and powerful works that Phill Niblock has ever offered. Phill reinvents and probes the oceans of drone music possibilities deeper than ever. This piece has been performed and recorded for over a year by many great musicians around the world, under the supervision and direction of Phill: Arditti String Quartet, David Watson, Lucy Railton, Phoenix Ensemble Basel, David Maranha, Ben Richter, David First, Andre Goncalves, and many more. Matière Mémoire is now releasing the first two volumes by Arditti String Quartet, David Watson (Vol. 1) & Phoenix Ensemble Basel (Vol. 2). https://www.matiere-memoire.com/page-d-articles/phill-niblock-exploratory-vol-1 SOUNDOHM: Phill Niblock "Exploratory l & II" (2LP in bundle / CD) Only a handful of years after their launch in 2018, the Belgian Imprint, Matière Mémoire, has quickly ascended to become a label to watch. Focused on releasing new works by some of the most important figures in contemporary experimental music - Carlos Casas, Susana Santos Silva, Torbjörn Zetterberg, Hampus Lindwall, Charlemagne Palestine, Jim O'Rourke, Oren Ambarchi, and numerous others - their catalog features a thrillingly diverse array of ambitious sounds. Among the artists offered a more dedicated focus within central Matière Mémoire’s output, is legendary minimalist composer Phill Niblock. 2019 witnessed the label’s release of Music For Organ, followed by his collaboration with Franck Vigroux and Kasper T Toeplitz, BestiaIRE, in 2020, and then Browner his contribution to their ambitious MMXX ‎series, later that year. Now they’re back with a stunning double bill of LPs from Niblock, Exploratory I and Exploratory II, comprising a sprawling set of sonic exploration performed and recorded over the course of an entire year by Arditti String Quartet, David Watson and Phoenix Ensemble Basel. Issued in limited editions on transparent and clear red vinyl respectively, as well as in a CD edition that collects both, in his 88th year Niblock remains as visionary and ambitious as he ever was. A composer, filmmaker, photographer, and tireless supporter, Phill Niblock is a pillar of American experimental music. For the last fifty years, there hasn’t been a time when he wasn’t there. Few haven’t, in one way or another, been touched by his music - carefully crafted, constrained works of durational tonality and shimmering harmonics - and his many efforts. For much of his career, Niblock has been focused on live performance acoustic phenomena, refraining to release his music in recorded form until the early 1980s, and then at an incredible slow and considered pace. Consequently, while more constrained that most artists of his generation, his output has been defined by a remarkable sense of clarity and depth, with each album album amounting to near perfection. Thankfully, over the last five years, pace of releases has begun to quicken, nearly doubling his discography during that period. Matière Mémoire’s latest double batch, the LPs Exploratory I and Exploratory II, takes us deeper into the incredible world, further expanding our access to his work for acoustic instruments, first unveiled by seminal albums like Nothin To Look at Just a Record, Niblock For Celli / Celli Plays Niblock, and Four Full Flutes, and increasingly returning to occupy a central place in his practice during recent years. Exploratory I and Exploratory II belong to a larger body of extended works performed and recorded, under the close supervision and direction of Niblock for more than a year, by a remarkable cast of international players including, but not limited to, Arditti String Quartet, David Watson, Lucy Railton, Phoenix Ensemble Basel, David Maranha, Ben Richter, David First, and Andre Goncalves. The first instalment, Exploratory I, features two distinct iterations - each offered a full side of the LP - one by Arditti String Quartet - the famous UK based ensemble founded 1974 by Irvine Arditti, Levine Andrade, Lennox Mackenzie and John Senter, focussed for nearly half a century on supporting contemporary composers by rendering their works in the closest possible way to their original vision - and the second by David Watson, the seminal New Zealand, New York based, experimental musician and bagpiper. Like so much of Niblock does, the LP unveils a startling sense of scope - especially via the interplay and contrast by the renderings - from incredibly constrained means, each built from layers of sustained tones that reconfigure the notions of drone in real time. Imbued with remarkable tension and intensity, subtle shifts of harmonics bend time, moving at such a glacial pace that it’s sometimes impossible to know if they are tricks of the ear, creative considerations embedded within the work, or byproducts of mental and physical states of the players, with Arditti String Quartet’s side occupying a lower register and thicker sense of range, standing in contrast to Watson’s, that bristles in its spareness in ways that only his instrument can produce. Of the three rendering, Exploratory II has what is arguably the broadest timbral range. Created under Niblock’s supervision by Phoenix Ensemble Basel - currently one of the most important contemporary music groups based in Switzerland, running for more than 20 years with a cast of roughly 25 musicians in its ranks - the half hour long piece (also the longest of the three featured across the Matière Mémoire’s two LPs) swells with oceanic depth, moving subtly between the appearance of stasis, beneath which remarkable power and diversity lays, and moments that build with tension, like a storm about to explode. With Niblock’s work over the last 40 years occupying such a high bar of quality, it’s impossible to have favorites or designate one as better than the next, but Exploratory I and Exploratory II are easily some of the most exciting of his recordings to have emerged in recent years. Imbued with the power, depth, and range that only acoustic instruments can unleash, they are a stunning immersion into of world of brilliant creativity via the constraints of durational tone. Issued by Matière Mémoire in two editions of 300 copies - Exploratory I on transparent vinyl and Exploratory II on clear red vinyl, as well as in a CD edition that collects the material from both LPs, they’re impossible to recommend enough.	2021	€26.00
NIBLOCK, PHILL / ANNA CLEMENTI / THOMAS STERN	Zound Delta 2	LP	A new piece by minimalist / experimental composer PHILL NIBLOCK (1933 - 2024), co-composed and performed by ANNA CLEMENTI & THOMAS STERN. Intense, menacing layers of thick drones and alien sounds. In summer 2022, within just a few weeks and by pure coincidence, 2 proposals regarding PHILL NIBLOCK albums arrived: one suggesting an overdue vinyl reissue of a CD release (more on that when the time has come for it), the other email was from ANNA CLEMENTI saying she and THOMAS STERN were working on new pieces that PHILL NIBLOCK has written for her … when "Zound Delta 2" was complete, PHILL sent photographs for the two artworks, we met twice to discuss details, but unfortunately he died unexpectedly early january this year so the album now is, sad as it is, a posthumous release … an intense goodbye from one of 20thcentury most iconic composers. Phill Niblock Phill Niblock (1933-2024, USA) was an artist whose fifty-year career spans minimalist and experimental music, film and photography. Since 1985, he has served as director of Experimental Intermedia, a foundation for avant-garde music based in New York with a branch in Ghent, and curator of the foundation's record label XI. Known for his thick, loud drones of music, Niblock's signature sound is filled with microtones of instrumental timbres that generate many other tones in the performance space. In 2013, his diverse artistic career was the subject of a retrospective realised in partnership between Circuit (Contemporary Art Centre Lausanne) and Musée de l'Elysée. The following year Niblock was honoured with the prestigious Foundation for Contemporary Arts John Cage Award. phillniblock.com Anna Clementi Italian-Swedish singer Anna Clementi grew up in Rome, where she first studied the flute and completed acting training before moving to Berlin and studying experimental vocal music and experimental music theater with the composer Dieter Schnebel at Hochschule der Künste (now UdK Berlin). Anna Clementi sees herself as an "actress of the voice" rather than exclusively as a singer. In this way she also articulates the diversity of her artistic expression, with which she is always searching for new connections between voice, gesture, language, dance and theater. During her decades spanning career, Anna Clementi has performed at the most important festivals, has premiered numerous works, many of which have been composed especially for her, and worked with Fast Forward, Michael Hirsch, Rupert Huber, Christian Kesten, Alexander Kolkowski, Olga Neuwirth, Josef Anton Riedl, Iris ter Schiphorst, Dieter Schnebel, Laurie Schwartz, Elliott Sharp, and many others. A special focus of hers is the work of John Cage, whose pieces she has performed worldwide. www.annaclementi.com Thomas Stern Born in Bremen, Thomas Stern moved to Berlin in 1984 where he joined Mona Mur with Alex Hacke and F. M. Einheit (both from Einstürzende Neubauten, with which Stern also worked as live sound engineer for many years). Around 1987 he co-founded the Berlin set up of Crime And The City Solution (Mick Harvey, Alex Hacke a.o.). Over the years, he has has collaborated with artists like Ulrike Haage, Phew, Nick Cave, Ton Steine Scherben, Meret Becker, Nina Hagen, Jaki Liebezeit, Ben Becker, N.U. Unruh, Gry, Iris ter Schiphorst, Automat, Swans, Hans Joacxhim Irmler and many more, on the road or in his own Sternstaubstudio. www.thomasstern.de credits released April 12, 2024 Anna Clementi: voice Thomas Stern: slide guitar, bass and soundprocessing Composition by Phill Niblock, Anna Clementi and Thomas Stern Recorded and mixed by Thomas Stern at Sternstaubstudio, Berlin Mastering and lacquer cut: Kassian Troyer at D&M, Berlin Cover photography by Phill Niblock Layout and design by kaidoh https://karlrecords.bandcamp.com/album/zound-delta-2 The information tells us about two Niblock proposals arriving simultaneously with this label in the summer of 2022. One is "an overdue vinyl reissue of a CD release", which we will hear of later (I'd rather see a CD reissue of 'Niblock For Celli/Celli Plays Niblock' or 'Nothing To Look At Just A Record'). The other proposal was from Anna Clementi, working with Thomas Stern on a piece by Niblock for them called 'Zound Delta 2'. Clementi is the voice here, and Stern plays slide guitar, bass and sound processing. It's not a traditional Niblock piece, in some ways, at least. For starters, there's a different kind of building of the piece. This time, it's not starting and ending as a wall of sound, but from isolated voice material, the piece starts building, and other instruments, assuming slide guitar and bass here, add to the density of the piece that it arrives after some ten minutes. From here on, the music remains dense, but there are changes within the colouring of the piece. The two versions of the piece are pretty different. The first has a relatively linear building of the piece, whereas the second version, halfway through adds other voice sounds (or even acoustic sounds or field recordings) and then the piece starts building again, but not with the same density. The voice is the primary instrument in this version, whereas in the first version, the voice is on an equal level as the other instruments; or perhaps processed along in similar ways. I have a slight preference for the first, perhaps, because this seems closer to Niblock's sound world, and in the second, the music veers towards improvisation a bit more. Both pieces make up for some interesting variation in the well-known Niblock territory, and that alone is great, but the results are excellent also. (FdW)	2024	€20.00
	Zound Delta 2	CD	A new piece by minimalist / experimental composer PHILL NIBLOCK (1933 - 2024), co-composed and performed by ANNA CLEMENTI & THOMAS STERN. Intense, menacing layers of thick drones and alien sounds. In summer 2022, within just a few weeks and by pure coincidence, 2 proposals regarding PHILL NIBLOCK albums arrived: one suggesting an overdue vinyl reissue of a CD release (more on that when the time has come for it), the other email was from ANNA CLEMENTI saying she and THOMAS STERN were working on new pieces that PHILL NIBLOCK has written for her … when "Zound Delta 2" was complete, PHILL sent photographs for the two artworks, we met twice to discuss details, but unfortunately he died unexpectedly early january this year so the album now is, sad as it is, a posthumous release … an intense goodbye from one of 20thcentury most iconic composers. Phill Niblock Phill Niblock (1933-2024, USA) was an artist whose fifty-year career spans minimalist and experimental music, film and photography. Since 1985, he has served as director of Experimental Intermedia, a foundation for avant-garde music based in New York with a branch in Ghent, and curator of the foundation's record label XI. Known for his thick, loud drones of music, Niblock's signature sound is filled with microtones of instrumental timbres that generate many other tones in the performance space. In 2013, his diverse artistic career was the subject of a retrospective realised in partnership between Circuit (Contemporary Art Centre Lausanne) and Musée de l'Elysée. The following year Niblock was honoured with the prestigious Foundation for Contemporary Arts John Cage Award. phillniblock.com Anna Clementi Italian-Swedish singer Anna Clementi grew up in Rome, where she first studied the flute and completed acting training before moving to Berlin and studying experimental vocal music and experimental music theater with the composer Dieter Schnebel at Hochschule der Künste (now UdK Berlin). Anna Clementi sees herself as an "actress of the voice" rather than exclusively as a singer. In this way she also articulates the diversity of her artistic expression, with which she is always searching for new connections between voice, gesture, language, dance and theater. During her decades spanning career, Anna Clementi has performed at the most important festivals, has premiered numerous works, many of which have been composed especially for her, and worked with Fast Forward, Michael Hirsch, Rupert Huber, Christian Kesten, Alexander Kolkowski, Olga Neuwirth, Josef Anton Riedl, Iris ter Schiphorst, Dieter Schnebel, Laurie Schwartz, Elliott Sharp, and many others. A special focus of hers is the work of John Cage, whose pieces she has performed worldwide. www.annaclementi.com Thomas Stern Born in Bremen, Thomas Stern moved to Berlin in 1984 where he joined Mona Mur with Alex Hacke and F. M. Einheit (both from Einstürzende Neubauten, with which Stern also worked as live sound engineer for many years). Around 1987 he co-founded the Berlin set up of Crime And The City Solution (Mick Harvey, Alex Hacke a.o.). Over the years, he has has collaborated with artists like Ulrike Haage, Phew, Nick Cave, Ton Steine Scherben, Meret Becker, Nina Hagen, Jaki Liebezeit, Ben Becker, N.U. Unruh, Gry, Iris ter Schiphorst, Automat, Swans, Hans Joacxhim Irmler and many more, on the road or in his own Sternstaubstudio. www.thomasstern.de Anna Clementi: voice Thomas Stern: slide guitar, bass and soundprocessing Composition by Phill Niblock, Anna Clementi and Thomas Stern Recorded and mixed by Thomas Stern at Sternstaubstudio, Berlin Mastering and lacquer cut: Kassian Troyer at D&M, Berlin https://karlrecords.bandcamp.com/album/zound-delta-2	2024	€14.00
NIEDOWIERZANIE	same	LP	Debut-Album dieses 1-Mann Projekts aus Marseille (currently residing, like everyone else, in Berlin), ein sehr eigener Stil aus harmonischen Instrumental / Drone / Neo-Klassik Elementen, schleppend-rhythmischer Elektronik, Field Recordings und Effektbearbeitungen. Hier kommt etwas zusammen was eigentlich nicht zusammengehört, aber es funktioniert & klingt wie aus einem Guss! Mal ist der Sound schneidend wie Glas, dann verflüssigt sich alles wieder, durchtränkt von einem subtilen melancholischen Fluidum... Edition: 200 Stück auf weissem Vinyl. "In spite of all their growing differences, there are still hidden places, elusive dimensions where East and West meet… For instance in the highly introspective music of the Marseille/Berlin based solo project NIEDOWIERZANIE, presenting here its first official album in the shape of five long instrumental pieces of neo-classical sound sculptures. Flirting both with IDM and contemporary music, mixing organic compositions (using a wide range of string, wind and self-made instruments) with electronic cut-ups and field recordings from the artist’s native Marseille and his extensive journeys through India, these intense, complex and luminous crescendos evoke the works of artists as diverse as COIL, MIRROR, MIASTO NIE SPALO and ARVO PÄRT. 12" LP - white vinyl - lim. edition of 200 hand-numbered copies." [label info] www.tutrur.com	2008	€16.00
NILSEN, BJ & STILLUPPSTEYPA	Passing Out	CD	Dritter Teil der nordischen "Drone & Alkohol-Intoxikation"-Trilogie, die den Zustand des Wegtretens zwischen Wachheit und Dämmerzustand klanglich adäquat wiederspiegelt; im tiefen Drone-Morast erscheinen Traumbilder, -gedanken & akustische Sequenzen der Realität auf. In paradoxer Weise ist man dann in der Lage, sowohl unbewusste wie bewusste Geistes-Inhalte zur gleichen Zeit wahrzunehmen...(sagen die Erzeuger dieses Albums). PASSING OUT ist ein One-Tracker von fast 70 Minuten, tiefgrummelnd-bassig und sonor und von mysteriösen, atmend-ächzenden Sounds durchzogen.... "The first chapter found the drink. The second came after a night of intoxicated shouting. The third chapter is inevitable: Passing Out. The Nordic sound artists BJ Nilsen & Stilluppsteypa have authored the last component to a trilogy of isolationist compositions for barren field recordings and lumbering electric drones, thematically linked in the psychotropic effects of alcohol. In doing so, they have issued a brief statement in defense of their research: "It's been four years and three studies, Passing Out being the final. Even in its most general, colloquial usage, Passing Out indicates the occurrence of a state that is incompatible with active behavior. It is possible that the individual could experience both consciousness and unconsciousness at the same time while encountering Passing Out." Yes, Passing Out is a crepuscular recording, with the flickering of twilight further dimmed by the distant Arctic sun in wintertime and the blackened numbness of too much drink. With one singular track that spans 60 minutes, a nearly constant thrum and rumble of monochromatic low frequencies casts a grim pall upon the precisely dialed-in modulations and vibrations. Spectral guitars, maudlin tunes from haunted radios, angrily growling voices, and field recordings of wind-whipped snow and ice bury themselves deep amidst these subharmonic drones. All of these tease at the edge of perception, sculpting the narrative of the drone into a vehicle for unhinged expressionism of varying degrees of horror, melancholy, beauty, and oblivion. The Swedish born BJ Nilsen defines his work as "focused upon the sound of nature and its effects on humans, and the perception of time and space as experienced through sound." He has numerous recordings on Touch and has collaborated with the likes of Chris Watson, Christian Fennesz, and Z'ev. The Icelandic citizens Sigtryggur Berg Sigmarsson and Helgi Thorsson are Stilluppsteypa, whose electronic abstractions engage absurd theatrics that mar the pristine surface of minimalism..." [label info] "....The complete and total isolation of the music, the long passages of seemingly no action (there is just one piece, clocking it at 68 minutes), with then a sudden break, a melody filters in, the radio starts humming and field recordings - that backbone of so much in Vital Weekly and certainly here - make this an album of not just pure drones or just processed field recordings, but the strange elements thrown in, give this album a stranger, almost alien feel to it. If it's the equivalent of passing out is a bit hard to say: the act of passing out on alcohol prevents you from remembering anything. This is however their best album to date and makes a strong trilogy." [FdW / Vital Weekly] "...Deep resonant vibrations abound, with some creepy breathing in your ear whisperings that may be those Leif Elggren vocals that Benny was talking about. Gradually, all of these deep drones and shadowy overtures glide into a slumbering descent. But the Icelandic weirdoes in Stilluppsteypa couldn't just let the album drift away without their absurdism forcing through the door, as they blurt with a clinical repetition of blooping electronics smashed and grabbed from Raymond Scott circa Manhattan Research. It's an unsettling climax to the album, but one that works brilliantly through Stilluppsteypa's expert use of electro-acoustic black humor. But it's drone that dominates the album, as angelic wash and devilish rumble collude to end this magnificent album. Oblivion never sounded so good. Passing Out is beautifully packaged with letterpressed and silkscreened artwork. Very nice." [Aquarius Records review] www.helenscarsdale.com	2008	€13.00
NIMH	This crying Era	LP	"Synästhesie Schallplatten proudly presents Giuseppe Verticchio aka Nimh for the first release, attending for March, 2012. First time vinyl release for Nimh, this guy has a solid experience and has collaborated with some genius of dark ambient / done, like Maurizio Bianchi, Mathausen Orchestra, Andrea Freschi... This Lp compiles some New material, and some material released on Silentes on K7 or cd-r released in the past 10 years. Hand-numbered edition of 100 copies, 180 gram black vinyl + insert. Nimh's biography : Born in Rome in 1965, Nimh, computer programmer, starts to play electronic music in 1994. In 1996 he moves in Koh Samui, Thailand, where he lives about one year. During this period he starts to know and love oriental traditional music, so he begins to collect various ethnic instruments and to use them in his CDs. Starting from 2001 he realized many CDs under the name of ?Nimh?. His music combines a wide spectrum of influences, he has recorded and released many works of different nature containing elements of experimental music, ambient, dark-ambient, industrial, electronic, isolationism, ritual-ethnic music. After some CD-Rs available only in limited edition, since 2004 Nimh published a lot of official CDs released by labels such as Amplexus, Silentes and Eibon, alternating solo works with side projects (Hall of Mirrors, Maribor?) and collaborations with other artists. The most important collaborations include Maurizio Bianchi/M.B., Mauthausen Orchestra/Pierpaolo Zoppo, Andrea Marutti/Amon, Nefelheim, Amir Baghiri. In these years of activity Nimh collaborated in various way open projects, partecipation to CDs and compilations, live performances, audio editing and mastering works?) with other artists/projects in ambient-electronic-industrial-experimental-ethnic musical scene, such as Aube, Eidulon, K11/Pietro Riparbelli, New Risen Throne, Vestigial, Hue, Raffaele Serra, Andrea Ferroni, Stefano Scala, Andrea Ferraris, Andrea Freschi/Subinterior, Claudio Ricciardi (ex member with Roberto Laneri of the historical harmonic chant ensemble Prima Materia?)." [label info]	2012	€18.50
NIMH & RAPOON	Post-Folk Lore Vol. 1	CD	"Two highly respected and prolific artists join forces for this collaborative release on our Winter-Light label. Nimh (Giuseppe Verticchio) & Rapoon (Robin Storey) recording together for the very first time, combining both of their key musical elements and forging something very new and different in the process. 'Post-Folk Lore Vol.1' is comprised of 4 long pieces created through shared recording sessions between their respective UK and Italian studios. Using traditional instruments, alongside sampled elements and synthesised sounds, Rapoon and Nimh open the door to this newly created Post-Folk space." https://winter-light.bandcamp.com/album/post-folk-lore-vol-1	2020	€13.00
NOISE-MAKER'S FIFES	Zona Incerta	10inch	Die Nummer 3 der S.I.-Serie kommt von der Brüsseler Performance-Gruppe NOISE-MAKER’S FIFES! Verschiedene Aufnahmen der Choreographie „Dyonisos’ Last Day“ und Feldaufnahmen afrikanischer Insekten dienten als Basis für zwei komplexe Geräuschsoundscapes. Höre mit neuen Ohren, mit anderen Hirnzellen als bisher ! “NOISE-MAKER’S FIFES is an experimental performance group from Brussels who do impressive shows with many selfbuild instruments and surrealistic sound-theatre-choreographies. The first side on “Zona Incerta” is based on the choreography “Dyonisos’ Last Day” from 2003 and uses various live-material from this and other different performances. The second side is created from insects field recordings made in Kenya. ZONA INCERTA builds a very dimension of its own, totally hazy and foggy sounds ebb and flow in and out...water and metal-sounds are recognizable in the sound-field, high insect-frequencies intertwine with all kinds of strange noises and animal sounds... The Unknown is also the world of other creatures who perceive a totally different world. Listen with new ears, with different neurons.” [press release] RELEASE DATE: 28. APRIL 2006 !! GENERAL LABEL CONEPT: “Substantia Innominata” is the brand new release-series from Drone Records. We are proud to present this as a 10” VINYL series along with subsequent re-releases on CD. This new series doesn’t focus on a special concept or ideology regarding the music, but on a certain theme. The theme for this 10” series is based on “The Un-known, The Un-nameable, The Un-speakable, The Un-thinkable, etc.: Various aspects related to “The Unknown”. Basically the grey matter (psychic or physical, which are bound to result the same) surrounding us / within us, but can’t be understood or recognized through the normal senses (though some may perceive it on a subconscious level). We could name it “The Unconscious”. The chosen name for this series, “Substantia Innominata”, was inspired to the fact that this Latin name represents a certain region of the brain which has unknown functions and remains a mystery for its role and existence. Therefore this name reflects well the intense fascination for this impalpable concept of “the unknown”. The invited artists for this series were asked to work around this theme, to let themselves be inspired by its abstraction. The artwork for this series will be created by the various visual & graphic artists. All in full-colour or silkscreen covers. The 10” vinyl pressings will come in an edition of 500 copies for each title. “...now the Belgian collective has developed a totally unique style where the successions of electroacoustic events are organized according to a logic which fuses a highly skilled compositional ability and the exploration of psychic dimensions where anguish and fear dominate.” [Massimo Richi / Touching Extremes] "Ähnlich einer Kette von Plunderphonictrickserei und schamanistischem Tranceinschlag bereiten NMF auf der 10“ sorgfältig zwei Stücke naturalem Ambientes und Feldaufnahme vor dem Hörer aus. Beide Seiten beginnen relativ leise und zögernd, ehe eine Mischung aus synthetischer Grundbetonung und relativ uneffektierter Klangmaterie auf dem Stereofeld erscheint. Die A-Seite geht dabei stärker in die dunklere Seite des Releases ein, vereinigen sich hier Synthesizerspuren und dekonstruierte Feldaufnahmen zu einer Klangmasse, die den Hörer unerwartet einlullt und dabei ein Gefühl erzeugt, den einzig wahren State Of Trance zu erreichen. Der Klang wirkt weder schwer noch betont Räucherstäbchenambiente-betont, sondern wirkt wie eine intelligente Schnittmenge aus Felddokumentation und improvisatorischer Klangkaskade. Die ganzseitige B-Seite (tatsächlich finden sich auf der 10“ zwei lange Stücke) erzeugt ein ähnliches Szenario, allerdings tritt die vormals vornehm zurückgehaltene Effektierung der Klänge stärker zutage. Ab der Plattenmitte entstehen seltsam mantrische Muster, dem Klang einer Orgel nicht unähnlich, ergänzt um zahllose weitere Elemente, die sich aus Feldaufnahme, Drones und leicht angezerrten Obertönen zusammensetzen. Eine sehr schöne Platte, die ohne den nötigen Pomp einer überschminkten Musikerwartung daherkommt. Neben der RLW von Substantia Innominata mein derzeit favorisiertes Release." [Thorsten Soltau / AEMAG]	2006	€5.00
NORTHAM, MICHAEL [MNORTHAM]	Memory of A	mCD-R	Ungefähr zur gleichen Zeit wie die SUHINA 10" in unserer SUBSTANTIA INNOMINATA-Reihe erschien diese mini-CDR bei TAALEM. Enthalten ist ein ca. 21minütiger one-tracker mit röhrenden, fast mechanischen Drones, die er auf einem "tubular zylophone" einspielt; die Statik des Beginns ist aber nur eine scheinbare, wenn sehr schön schwingende metallische Obertöne dazukommen, wallende organ-drones und sich fast auflösende rauschender Regenklänge... ein sehr feines Stück!! "Micheal Northam travels a lot and presents here a work that was recorded in India in december 2007, with his microtuned tubular zylophone along with winter rain. Its unclear what (or if at all) he has done with the recordings, but its a pretty neat work. Maybe a bit more rougher than usual, but the various shifting tones of the metallic object he is playing, along with the processed field recordings make this a slow yet always evolving piece of work. A classic Northam piece of drone like acoustic sounds and field recordings. " [FdW / Vital Weekly] "artwork: delphine ancelle-b. based on cassette recordings on a microtuned tubular zylophone while under an unusual winter rain at the adishakti center, vazhakulam, pondicherry, india (december 2007). mixed at the hobbit hole, kreuzberg, berlin (july/aug 2008. michael northam could be considered as much as a sound artist as a world traveller... his work is the continuation of more than fifteen years of visiting, working with and learning from over ninety artists (jgrzinich, yannick dauby, loren chasse, martin franklin, francisco lopez or hitoshi kojo/spiracle to name a few) over fifty locations in twenty-five countries! a perfect example is this piece recorded in india then mixed in germany, probably rawer and rougher than some of his other works..." [label info] www.taalem.com	2009	€5.00
NOVA, JACQUELINE	Creacion de la Tierra - Ecos palpitantes de Jacqueline Nova: Musica electroacustica e instrumental (1964-1974)	do-LP	"Jacqueline Nova (Ghent, Belgium, 1935 - Bogotá, Colombia, 1975), a representative figure of Colombian avant-garde music, developed important and radical work within the field of electronic and instrumental music, as well as in interdisciplinary forms. This album, Creación de la Tierra - Ecos palpitantes de Jacqueline Nova: Música electroacústica e instrumental (1964-1974) ("Creation of the Earth - Throbbing Echoes of Jacqueline Nova: Electroacoustic and Instrumental Music (1964-1974)")¸ under the curatorship and research of the Colombian composer Ana María Romano G., recovers Nova's most important electroacoustic works: "Creación de la tierra (Creation of the Earth)" (1972), "Oposición-Fusión (Opposition-Fusion)" (1968) and "Resonancias 1 (Resonances 1)" (1968-69), as well as the music for the film Camilo el cura guerrillero (Camilo the Guerrilla Priest) (1974), composed during her stay at the Centro Latinoamericano de Altos Estudios Musicales (CLAEM) , of the Torcuato Di Tella Institute, in Buenos Aires, as well as in the Study of Phonology of the University of Buenos Aires. The compilation also includes the instrumental works "Omaggio a Catullus" (1972-1974), "Transiciones (Transitions)" (1964-1965), and "Asuimetrías (Asymmetries)" (1967), in which she explores randomness, timbre possibilities or the encounter between acoustic and electronic media. The interest in experimenting with the human voice, and interdisciplinary work involving visual arts, were some of the aspects that have defined Jacqueline Nova's work. Ana María Romano has written: "Nova lived in an environment hostile to change, to debate and discussion, hostile to her being an autonomous and lesbian woman. She undertook feats that make her a pioneer, even though she did not set out to be taken as one, but only as a result of the commitment, dedication and passion of a creator with her society. Jacqueline Nova died in Bogotá of bone cancer. Her tragic and early death not only cut short a career in full creative force, but also directly affected the development of electroacoustic music in the country. After her death there was a great silence -- close to 15 years -- in musical creation with electronic means. Nova challenged a conservative milieu and survived alone, working in a field thought to be exclusively masculine. But it was a woman who strengthened the use of technology in Colombian music. A risky bet that sadly represented a high cost: Nova was relegated during her lifetime, but her noises managed to shake and question the comfort zones of the Colombian musical establishment." Includes a booklet with extensive information written by Ana María Romano G.; edition of 300." https://buhrecords.bandcamp.com/album/creaci-n-de-la-tierra-ecos-palpitantes-de-jacqueline-nova-1964-1974 "Continuing their incredible dedication to the historic sounds of the 20th Century Latin American musical avant-garde, Buh Records returns with one of their most important releases to date, "Creation of the Earth - Throbbing Echoes of Jacqueline Nova: Electroacoustic and Instrumental Music (1964-1974)", the first ever collection dedicated to the pioneering work of the Columbian composer Jacqueline Nova. Spanning the final decade of Nova's life, not only does this stunning double LP overflow with astounding acoustic, electroacoustic, and electronic works that entirely upend the Eurocentric historic experimental music, but the album doubles as a crucial illumination of the feminist and queer struggle for liberation through sound in Latin America during this period. Absolutely astounding on every level and impossible to recommend enough, it's the sort of revelation that only comes around once in the rarest of times. Running continuously since the mid 2000s, in recent years the Lima based imprint, Buh Records - run by Luis Alvarado - has issued an astounding array of little heard Latin American experimental music onto the world stage, offering particular focus to work - contemporary and historic - from Peru. In recent years, they’ve been increasingly casting their gaze further afield, offering glimpses of the broader Latin American context experimentalism with stellar releases by Mesias Maiguashca, Walter Smetak, Oksana Linde, and a number of others. Their latest, “Creation of the Earth: Throbbing Echoes of Jacqueline Nova: Electroacoustic and Instrumental Music (1964-1974)” belongs to this shift. The first-ever release entirely dedicated to the pioneering Columbian electronic composer, Jacqueline Nova, it lifts the shadows of time to reveal an astounding artist whose work has remained almost entirely unobtainable since her untimely death in 1975. Visionary and truly remarkable, the historical importance of this stunning double LP - issued in a very limited edition of 300 copies, complete with extensive liner notes by Ana María Romano - can't be understated. Once again, Buh has upended the perceptions of avant-garde happening during the 20th Century and replaced it with something far more diverse, vibrant, and alive. "The history of avant-garde, experimental, and electronic music from Latin America has always been incredibly difficult to access, largely due to the effects of conservative, authoritarian governments that game to power in many countries in the region during the mid 20th Century, attacking progressive art-forms and limiting the mobility of the rich contexts of sounds that emerged within their borders. Despite the opposition that these artists faced, a remarkable scene of experimental music thrived - often cross pollinating - throughout Latin American during the second half of the 20th Century, a happening that Buh Records has been making greats strides toward illuminating for more than a decade. It would be hard to find a better example of this than their latest release, dedicated to the work of the Columbian composer Jacqueline Nova. Born in 1935, Jacqueline Nova began playing the piano at a young age, eventually taking her studies to the National Music Conservatory in 1958. In 1963 she shifted her focus toward composing, and in 1967 became the first woman to obtain a diploma in composition at the Conservatory, following which she won a scholarship to study at one of the most noted electronic and electroacoustic studios in Latin American, Centro Latinoamericano de Altos Estudios Musicales (CLAEM), in Buenos Aires, Argentina. From this point forward, she almost entirely dedicated her efforts to electroacoustic composition, until her death in 1975. Nova’s time at CLAEM set her apart from most of her Columbian peers, allowing her the space and time to reach a high level of technical refinement that, combined with her compositional talents, placed her as one of the leading figures in Colombian and Latin American electroacoustic music during that moment. This became even more the case following her return to Argentina in Guggenheim scholarship. Nova returned to Buenos Aires, with the support of a Guggenheim fellowship to research and develop a body of work that integrated ways of transforming the human voice through electronic processes. “Creation of the Earth”, spanning two full LPs that comprise seven important works by Nova, is effectively a career spanning window into the composer’s remarkable inner world, covering the years between 1964 and 1974. Over its length, we hear the evolution of one of Columbia and Latin American’s most important avant-garde composers, from early efforts like “Transiciones” - a stunning work of complex harmonics and distances for solo piano - and “Asimetrías” - an equally striking, spacious work for flute and percussion - that give a glimpse of her purely acoustic beginnings in the avant-garde, and the sublime talent that laid the foundation for her subsequent works. Beginning with “Resonancias 1”, composed across 1968 and 1969 between Buenos Aires and Bogotá, we encounter Nova beginning to incorporate electronic processes; her piano and other acoustic instrumentation becoming interwoven with electronic sounds, in a work that is built on seven structures with timbre indications, leaving a great deal of openness for each player to make decision and determine its outcome. The remaining three works gathered on “Creation of the Earth” are unquestionably the most radical and forward thinking, witnessing Nova reaching the full extent of her powers as a composer. The first of these, “Creación de la tierra”, composed in 1972, draws upon her research into the transformative potential of electronic process on the human voice. Composed solely from vocal material drawn from songs on the creation of the earth of the U'wa ethnic group in Boyacá, Colombia, the work culminates as an immersive ritual of astounding scope, rendering the source material almost unrecognizable through heavy processing that transforms it into writhing ambiences of texture and tone. This is followed by “Omaggio a Catullus”, composed over the two years between 1972 and 1974, which takes an entirely different approach to these queries. Incorporating a vast range of acoustic instruments, vocalizations, and electronic processes, it appears as a sonic gesture of deep urgency, entirely of its moment and yet somehow out of time. The final work of the collection, “Montaje electroacústico a partir de materiales de la música original de la película Camilo el cura guerrillero”, was created in 1974 toward the end of her life. As the title suggests, it is an electroacoustic montage from music materials created for the film “Camilo the Guerrilla Priest”. A likely indication of Nova’s politics - Camilo Torres Restrepo, the subject of the film, having been a Marxist-Leninist, priest who fought for progressive reform in Columbia - the work is a stunning gesture of avant-garde sonority, swirling into abstract forms. As the liner notes to “Creation of the Earth” state, “Nova lived in an environment hostile to change, to debate and discussion, hostile to her being an autonomous and lesbian woman. She undertook feats that make her a pioneer, even though she did not set out to be taken as one, but only as a result of the commitment, dedication and passion of a creator with her society.” One can only imagine what effect she might have had if her life hadn’t been cut tragically short at the age of 40 in 1975 by bone cancer. Perhaps even more tragically, her death ushered in a period of silence in Columbian electronic music that would last well over a decade, perhaps proving how alone, ahead of her time, and important she was. For this reason and the astounding quality of the work, it is impossible to overstate the importance of Buh’s release of “Creation of the Earth: Throbbing Echoes of Jacqueline Nova: Electroacoustic and Instrumental Music (1964-1974)”, the first ever collection solely dedicated to her remarkable body of work. It’s a truly stunning and revelatory listen, bringing a crucial, lost piece in the history of Latin Avant-garde music into the light for the first time. Issued as a beautiful double LP, which includes fantastic exploratory liner notes, we can’t recommend this one enough. Ten out ten and beyond. Grab it before it’s gone." [SOUNDOHM]	2022	€34.00
NOVAK, YANN	Paradise & Winchester	CD	"Paradise & Winchester was created in late 2011 for the Belgian imprint Unfathomless who’s credo is to commission works that ‘illustrate artists‘ personal fascination for specific locations, either natural, human built, or fictitious’. In response to this, Novak chose a location that he had never been to, yet knew he would have a strong reaction to, Las Vegas, NV. The piece focuses on ‘The Las Vegas Strip’, a portion of Las Vegas Boulevard outside the city limits spanning two unincorporated townships: Paradise and Winchester.Paradise & Winchester was created from ten recordings, made over three days, each one an attempt to find relatively quiet moments in an outdoor location. These quiet moments were then digitally altered to reflect a more personal reaction to the location. The final form of the piece is an ever changing hybrid state, move from one location to the next and a constant mix of nearly raw material with altered material.Paradise & Winchester was formed in late 2011 after a 7 day trip collecting and recording sounds and images. The trip ended with three days of rest in Las Vegas, NV." [Yann Novak, May 2012] www.unfathomless.net "There was a time the name Yann Novak propped up in these pages quite regularly, if not for his own music, it was for releases on his Dragon's Eye Recordings, but in more recent times this has become less and less. I am not sure why this is. Maybe he just releases less and less, or perhaps not all of his releases reach me. Here he has an interesting work which deals with the sounds of The Las Vegas Strip, in itself part of the Las Vegas boulevard, 'outside the city limit, spanning the two unincoprorated townships of Paradise and Winchester, where the majority of the casinos and tourist activity takes place'. This is not exactly a new soundtrack to Paul Verhoeven's 'Showgirls' (a fav here) or 'Fear & Loathing In Las Vegas'. In fact should you not have known this, would you be able to tell this forty some minute was recorded in one the most hectic and noisy cities in the world? I don't think so. At the same time I have to admit that I am also not entirely sure to what extend there has been sound processing. Surely something, which makes a very nice pattern of gliding sounds and endless delays, but in between, in the backside, far away we still hear the activities of humans. Voices, cars parking and that sort of thing, but also the sound of wind, blowing down the microphone. In these forty-three minutes he moves between various settings, in all about five or six different movements. It has that gentle microsound feel that is part of many of the previous works by Novak have, and perhaps as such isn't the new approach to what he does. That aside though, this I thought was a great work. Taking the quiet sounds of a busy city and melt that into a gentle soundscape. Very nice!" [FdW/Vital Weekly]	2012	€14.00
NOVAK, YANN / JAMIE DROUIN	+ROOM-ROOM	CD	JAMIE DROUIN trat im Drone-Mailorder bereits 2004 in Erscheinung, als er in Zusammenarbeit mit LANCE OLSON eine sehr schöne CD-R nur mit Schnee-Klängen veröffentliche ("Snow:Field", Infrequency Rec.); auf +ROOM-ROOM begegnen wir ihm im Verbund mit dem DRAGONS EYE-Betreiber YANN NOVAK wieder, wo sich zwei ähnlich hochminimale Drones für eine Galerie-Installation verdichten. Der erste Drone besteht aus stehenden Wellen von lichtem Klang mit Zeitdehnungseffekt, der zweite ist dunkler & rauschiger und schafft weiten Raum. Zwei identische Räume bekommen damit völlig verschiedene "Gesichter", die Drones verändern auch die Wahrnehmung physischer Umgebung. Minimalste Soundart die vor Schönheit funkelt! 2 tracks, 63 Minuten. " +ROOM-ROOM is a pair of sound installations for two adjacent galleries at the Henry. Artists Yann Novak and Jamie Drouin will each individually explore how the perception of these familiar places is transformed by sound. Through contrasting sensory experiences, the installations create an experiential divide between the two virtually identical rooms and restructure notions of architectural solidity and singularity in favor of more flexible, intuitive perceptions. The aural compositions, based on actual ambient noises recorded in the galleries, turn attention onto the spaces themselves and encourage us to rethink the ways in which we process physical location, and create assumptions about our surroundings. In collaboration with the artists, the Henry will produce a CD of stereo versions of the works. +ROOM-ROOM is organized for the Henry by Associate Curator Sara Krajewski." [exhibition info]	2009	€13.00
NOX	Opus Unending	CD	Croatian artist Jurica Santek joins the Winter-Light label with his project 'Nox' and the release of his 'Opus Unending' album. 'Opus Unending' is traditional dark ambient, focused on low, sub tones with touches of industrial and horror recordings. Downtune and lo-fi, the feel shifts more towards that of the original dark ambient and death industrial artists from the early period of these genres. The project was born in 2019 as a collection of previously recorded experimental and field sounds. The album is composed as a randomisation of those sounds that were carefully collected for that specific purpose; later to be used for the construction of an entire album. The main focus is on dark, isolationist soundscapes but also as music without distraction, that can be used as a background meditative for various purposes. The aim is to reach a fluid dark atmosphere that is pleasant and meditational to listen to, but that is also having dark and unnerving moments. Lovers of dark ambient, will be familiar with Jurica's 'Aegri Somnia' project, having released two albums on the Cryo Chamber label. He has also recently released a pure dark ambient album 'Dead Pact', on the much respected Kalpamantra label, under his Efil project. The album was recorded between 2019/2020 in Zagreb/Čakovec, Croatia. All tracks written, produced and recorded by Jurica Santek. https://winter-light.bandcamp.com/album/opus-unending	2020	€13.00
NOX, GEROME	Blood-Red Poppies	CD	Gerome Nox: Blood-Red Poppies Catalog-Nr.: plus 027 Format: CD Country: Germany Released: 2001 Genre: Electronic Style: Industrial, Ambient Tracklist 01 Monologue One [Voice: Black Sifichi] 02 On The Road 03 Evil 04 Mass Destruction 05 Monologue Two 06 Blood-Red Poppies 07 Hell’s Kitchen 08 Fire [Voice: Léonor Nuridsany] 09 Cold Blood 10 A Tribute [Voice: Ami Garmon, Black Sifichi, Fagus Sylvatica, Judy Sylvatica] Credits Bass: Amadou Sall [track 2 to 4, 7, 8] Notes Digipack www.molokoplusrecords.de/finder.php?folder=Label&content=21 "More murder and mayhem can be found on Gerome Nox's Blood-Red Poppies. Unlike Kickback, reviewed this month, who advocate a libertarian philosophy Blood-Red Poppies is concerned with the inherent personalities and motives. It unfolds to a series of taped dialogues, oppressive atmospheres, murderous effects and, some tired industrial thrash posturings. Blood-Red Poppies features some malevolent atmospheres reminiscent of Schloss Tegal so should appeal to death industrial lovers. For further information contact ralf_friel@ferrostaal.com " [Compulsion Online] gerome nox (aka G-Nox) Gerome Nox is a product of the Beaux Arts school. But he has been moving in a world of “cuttingedge” music since the early 1980s, the decade during which he founded the industrial music group, NOX. These days, Nox’s work blends rhythms, electronic and electro-acoustic manipulations, and city sounds and atmosphere. It is a body of work whose occasionally violent energy evokes the in-yourface edginess of bustling urban life, creating soundscapes that are constantly evolving, and in which power and excess alternate with minimalism and refinement. As one who considers sound more as matter, and instruments as so many means for producing and shaping music, Nox is as much a visual artist as a musician. It is in this perspective that, while not abandoning a traditional instrument such as the electric guitar, he increasingly turned to electronic instruments – and especially computers – that allowed him to treat the sound in terms of texture, density, volume, resistance and spatialisation. Nox has collaborated on numerous new musical and audiovisual works, performances, and choreographic works. These diverse collaborations have led him to work with the following artists: Cecile Babiole (multimedia artist), Laure Bonicel (choreographer), Alain Declercq (visual artist), Christophe Fiat (sound poet), Emmanuelle Huynh (choreographer), P. Nicolas Ledoux (visual artist), Claude Leveque (visual artist), Barbara Mavro Thalassitis (choreographer), Michèle Murray (choreographer), Christian Rizzo (visual artist/choreographer), Kasper T. Toeplitz (musician/composer). Nox has performed at the following venues and events: The House of World Cultures (Berlin), The Cultural Centre of Belem (Lisbon), the Bratislava Dance Festival (Bratislava), the festival Musique Action (CCAM Nancy/Vandoeuvre), the festival Nouvelles Scènes (Dijon), the Cartier Foundation (Paris), The Georges Pompidou Centre (Paris), MACBA (Barcelona), Melkweg (Amsterdam), DANCE (Munich), the Hebbel (Berlin), the Museion (Bolzano, Italy), etc. Interview excerpts and press reviews can be found on the M-Tronic label’s website: www.m-tronic.com	2001	€13.00
NULL, K.K.	Gamma Ray Burster	CD	"Gamma ray burster" is the newest masterpiece of KK Null, one of the most influential artists in japanese Noise and Experimental music. Rhythmic and pounding analogue sine waves combined with experimental electronic sounds, flirring, whistling, crackling, rumbling and noising inside Your head. on "Gamma ray burster" you can enjoy noisy tracks with even danceable parts, as well as pure noise and avantgardistic experimental Cold Electronics. This album contains all kinds of different experimental Noise styles, what makes the 52 minutes very enjoyable and entertaining. let you take you to a trip into another galaxy. Far from here. Very far!" [label notes] www.steinklang-records.at	2007	€8.00
NULL, K.K. / Z'EV	Artificial Life	CD	Strong mixture of metallic gong & percussion-drones with electronic analogue-noises.. some material is quite mellow, some has outbursting movements... no boring moments... definitely recommended for friends of both projects. “Percussion and percussive elements compose the majority of the source material on this collaborative disc. However, the five pieces on this disc are anything but traditional percussion. With tracks ranging from dense, complex rhythms that sound like angry gnats to sonorus bowed metal and shifting sine waves, these recordings emphasize why these artists have earned their places in the pantheon of experimental sound artists.” [label info] “....Recently both were on tour in the UK, and on that occasion this CD was produced and in a way can be seen as a continuation of a recent work they did with Chris Watson (see Vital Weekly 503). Both are works of playing together, but in the case of the release with Watson, it was Z'ev putting the stuff together afterwards based on the sound material offered by KK Null and Chris Watson, whereas in this case Null and Z'ev where together and played the music in an improvised way. That means there are differences to be noted. The Touch CD was much more densely shaped with a wide variety of sounds being blurred together into fine woven pattern, whereas here electronics play a main part but separately from the percussive elements thrown in by Null (who gets credit for electro-percussion) and Z'ev. Less dense, but with a lot of variety. From the tribalism third piece (all are untitled) to the abstract and quieter second and fourth piece, these two gentlemen play a fine piece of music. Throughout they know what they are doing and it may seem that Z'ev is the man who plays the 'solo's' here, meaning he gets a more distinct sound, but it's a wonderfully varied and intelligent disc. No wonder they are heavy weights.” [Fdw/ Vital Weekly]	2006	€13.00
NURSE WITH WOUND	The Swinging Reflective II	do-CD	"Follow up to 1999's The Swinging Reflective album. It features an array of Steven Stapleton's favourite releases that are either his remixes of other artists, collaborations or have been co-written with individuals who have worked extensively with NWW. All tracks are remastered and some have been slightly or comprehensively remixed. This set is packaged in a heavy board, gloss laminated 6 panel digipac."	2017	€20.00
	To the Quiet Men from a Tiny Girl	LP	Long awaited vinyl reissue of NWWs classic 2nd album. This yellow vinyl version Is exclusive to Cargo. Packaged in an outer sleeve that replicates the original United Dairies issue and also has a replica of the Steven Stapleton designed insert. Info: To the Quiet Men from a Tiny Girl is the second album by Nurse With Wound and the last to be made by the founding trio of Steven Stapleton, John Fothergill, and Heman Pathak. The album also features contributions from French avant-garde musician Jacques Berrocal. It was recorded by The Bombay Ducks, an alias for Nicky Rogers and Vic Ball, the former of whom had facilitated the recording of the group's first album, Chance Meeting on a Dissecting Table of a Sewing Machine and an Umbrella (and, therefore, unintentionally, the group's formation - see article for details). The album's title comes from Tolerance's album Anonym link The sessions were characterised by tension amongst the trio with Pathak leaving the group almost immediately after the album was completed - Fothergill told author David Keenan that Pathak's contribution to this record was minimal. Stapleton and Fothergill disagreed over the production of She Alone Hole And Open (named after a line from "Pini Pini" by Arto/Neto) and Stapleton has expressed regret at allowing the track to be compromised by Fothergill's intervention. Before long, Fothergill would also leave the group as he and Stapleton began to clash over the releases on the group's United Dairies label, which was now issuing music by other artists such as Whitehouse and The Lemon Kittens.	2020	€23.50
	The Sylvie and Babs High-Thigh Companion	pic-LP	Ok, here it is – Sylvie & Babs as a picture disc LP, with new Babs Santini artwork. Was it always supposed to be this way? Who knows? But it won’t be around for long. One pressing and that’s it, buy or die – you know the drill. “Sylvie and Babs is one of the most memorable, playful, and fascinating albums in the NWW oeuvre (though a decidedly unrepresentative one)…few (if any) other artists could’ve woven capricious contrarianism, low humor, bad puns, endless non-sequiturs, and chaos into such a satisfying whole“ – Anthony D’Amico	2021	€33.00
	Gyllenskold, Geijerstam and I at Rydberg's	CD + BOOK	"Nurse With Wound – Gyllensköld, Geijerstam And I At Rydberg’s – Art Book CD – Silver Collection – augmented album Deluxe Art Book cd of 24 pages sewn – All artworks by Babs Santini Tracks 1. SEVERAL ODD MOMENTS PRIOR TO LUNCH (9:48) 2. PHENOMENON OF AQUARIUM AND BEARDED LADY (5:32) 3. DIRTY FINGERNAILS (15:42) 4. ODD (2:41) 5. AQUARIUM (5:58) 5. DIRTY FINGERNAILS (10:33) 6. JOURNEY THROUGH CHEESE (20:20) "This 1983 period in which Gyllensköld was recorded was a fantastic time for the evolution of Steven Stapleton’s audio art. His collaborations with Diana Rogerson, Robert Haigh (Sema), David Tibet, and Thirlwell around this time elicited some of the most exciting work Nurse With Wound had yet recorded. Listen to this material and compare it to Chance Meeting and it becomes clear that in just a few years, Stapleton’s art had grown by leaps and bounds. The production quality on these tracks is remarkable, and the widening out of the NWW soundworld opened up a whole new audio toybox that Stapleton has continued to experiment with up to today. This new sound encompasses vocal experiments, vintage LPs of easy listening music, demented nursery rhymes, lateral references to disposable pop music, avant-garde jazz and minimalistic piano composition, all glued together with evocative atmospheres redolent of things unholy, troubling and perverse, but always oddly indefinable and puzzlingly misshapen. In retrospect, Gyllensköld can be seen as the beginning of the “mature” period of NWW, and thus it is an indispensible release for fans of the project. Perhaps influenced by the obsessions of his friend and collaborator Tibet, Stapleton also began weaving religious and occult references into his usual name-dropping of avant-garde artists and movements. The title of Gyllensköld was taken from an entry in dramatist August Strindberg’s Occult Diary, a volume which represents either the record of a great writer’s exploration of magic and mysticism, or the hallucinogenic scrawlings of a man in the grips of extreme paranoid psychosis, depending on your point of view. Similarly, NWW’s Gyllensköld comes across at times as the soundtrack to a schizoid episode: disembodied voices intoning nonsense, floating subliminally across the stereo channels, or cackling in evil delight. The sounds are denser here than on earlier works such as Homotopy To Marie. Areas of silence are mostly gone, replaced by layers of drone, cartoonish noises and mutated voices. “Several Odd Moments Prior to Lunch” opens the brief album, setting the stage with its lysergically altered vocals and a frightening, yawning chasm of haunted, spectral sound. Stapleton, Thirlwell, and company learned how to wield the studio like an instrument on these and other recordings of the period. Effects such as reverb, delay, ring modulation and backwards tracking are utilized to create evolving textures and darkly psychedelic dreamspaces. “Phenomenon of Aquarium and Bearded Lady” utilizes a number of instruments, including horns and piano, to create a bizarre dislocated funeral dirge in which the sounds of a slowly cycling jack-in-the-box are not out of place. For fans of musicians like Jacques Berrocal, who prefer their free jazz with a heavy dose of whacked-out eccentricity, this is about as good as it gets. “Dirty Fingernails” is something else entirely, a longform exploration of outré textures, combining mysterious trebly noises with percussive bleeps of mysterious origin. It all comes across like the soundtrack to an alechemical ritual performed by rickety Victorian-era cyborgs in an abandoned subway tunnel at the end of time. In other words, prime Nurse With Wound territory." [Brainwashed] https://nursewithwound1.bandcamp.com/album/gyllensk-ld-geijerstam-and-i-at-rydbergs	2021	€27.50
	Alas The Madonna Does Not Function	pic-LP	1988 saw the release of several timeless and remarkable EPs from Nurse With Wound, one of those classics is Alas The Madonna Does Not Function. Madonna in some respect was a turning point for NWW. It\\\'s a record that whilst unmistakably retaining that ineffable NWW character brought rhythmic and almost \\\"musical\\\" elements into play. Madonna could be seen along with the Soresucker and Cooloorta Moon EPs as the bridge between the old and the new, the natural precursors to Thunder Perfect Mind and Rock \\\'n Roll Station. Some 34 years later Madonna still sounds fresh and unique, a true one off, proving NWW to be one of the few genuinely enduring and uncompromising artists of their time. Added to this reissue is the fan favorite, \\\"I Am The Poison\\\". With its plodding cyclical bass, minimalist sound and distorted vocal lines it could be argued that \\\"Poison\\\" is a forgotten, yet divergent, post punk classic. Beautifully remastered by Andrew Liles. Beautiful die-cut sleeve with Babs Santini artwork.	2022	€31.50
	Thunder Perfect Mind (special ed.)	3 x pic-LP	One of the most essential works from Nurse With Wound, coming in an extended luxury 3x picture LP and 2CD edition, with many unreleased, alternative versions and songs. This album is the sister album to Current 93’s same titled album and it’s a crownjewel for collectors of avantgarde and experimental music. The original release of Nurse with Wound’s gargantuan “Thunder Perfect Mind” in 1992 coincided with that of Current 93’s homonymous genre-defining album. Legend has it that the gnostic name initially appeared to Steven Stapleton in a dream as the title of Tibet’s then still nameless upcoming album. Both records feature contributions from David Tibet, Colin Potter, Rose McDowall, John Balance of Coil, Alan Trench of Orchis and Joolie Wood amongst others. The title and the partial overlap of the personnel on both albums isn’t quite where the similarities end, both albums have since become undisputed milestones in their respective artists’ oeuvre. At the core of the definitive 2023 Infinite Fog re-release fully overseen by Steven Stapleton are the two original tracks “Cold” – a classic unsettling rhythmic Nurse collage-fest, significantly closer to jittery psychelia than the oft-cited “industrial feel” and the epic “Colder Still”, easily one of the most mind-bending breathtaking NWW compositions up to this point and well beyond. The track soothes ghostly atmosphere and reveals new surprises with every listen, not least of which is a direct link to its sister release from c93 as well as the first appearance of the signature rhythm loop that would mutate and re-emerge on several later tracks. The album also is the first full-length collaboration with genius sound wizard Colin Potter who has since become a ubiquitous sidekick both on Nurse albums as well as in live performances. As a follow-up to what is widely acknowledged as one of the best-loved exercises in drone of the 20th century “Soliloquy for Lilith”, TPM is a much more varied but at least equally rewarding experience. Infinite Fog are beyond pleased to be able to offer a significantly enhanced, remastered and extended 3 LP version for old and new fans alike. Songs: 1. Cold 2. Colder Still 3. Zero Neither No (Andrew Liles mix) 4. Crank 5. Steel Dream March Of The Metal Men 6. The Dadda’s Intoxication 7. Dead Cold 8. Cold (Miss Ticker Mix) 9. Spooky Loop 10. Alien 11. Colder Than 12. Colder Than 13. Bad Trip In Berlin https://infinitefog.bandcamp.com/album/thunder-perfect-mind	2024	€88.00
	3 Lesbian Sardines	LP	https://www.dirterpromotions.com/releases/nurse-with-wound/3-lesbian-sardines/ Three lesbian sardines! Shouted by a heckler at a performance by the Dadaist Hugo Ball on stage at the Cabaret Voltaire. Is a perfect title for Nurse With Wound’s final appearance at the ‘Great Monster Dada Show’ at the legendary Henie Onstad Kunstsenter in Oslo, 2019. The largest exhibit of dada art and artefacts this century, over 250 artworks by 43 artists including Kurt Schwitters, Jean and Sophie Teuber Arp, Hannah Hoch, John Heartfelt, Tristan Tzara, Max Ernst, Francis Picabia, Raoul Hausmann, Marcel Duchamp, Man Ray. This electric performance captures the band at their most eclectic and playful. Here six tracks feature the classic line up of Steven Stapleton, Andrew Liles and Colin Potter including the toe tapping crowd pleaser ‘Flea Circus’ – a mutant hybrid of Kraftwerk and Aphex Twin and is amongst the best the band have ever recorded. ‘Broken America’ is timely reminder of the dire situation we are all facing with the arrival of Trump’s America. The cover features stunning new artwork by acclaimed artist Babs Santini. 500 copies only in NEON GREEN VINYL. SIDE ONE 1/ WEIMAR DRILL HEAD 2/ 3 LESBIAN SARDINES SIDE TWO 1/ TRANSFERENCE (DID MARCEL STEAL ELSA’S URINAL) 2/ DOING WHAT WE ARE TOLD MAKES US FREE 3/ BROKEN AMERICA	2025	€30.00
O'MALLEY, STEPHEN	But remember what you have had	CD	With But remember what you have had, Stephen O’Malley continues and expands his musical approach by transposing it to multiphonic electroacoustic writing and acousmatic listening. Drawing not only on his extensive experience as a composer and live instrumentalist, but also on the countless studio production and mixing sessions he has taken part in the course of his many projects (in solo, with SUNN O))) or KTL, to name but a few), Stephen O’Malley’s work on this new piece is ambitious, engaging in an inspired research that delves into the deep intricacies between polyphony, intonation and timbrality, enhanced by melodic motifs. To do this, O’Malley summons up his own very personal sound universe, constellated with amplified textures, instrumental sustained tones and raw energy, in order to diffract them into wavefronts, waves and blows that weave a complex, rich and fascinating matter. But remember what you have had stands out as an important work in Stephen O’Malley’s repertoire: it brings together the multiplicity of his musical approach in an exemplary way, while laying the foundations and promises for the future of an already extraordinary journey. Composed by Stephen O’Malley / Mixed & arranged at GRM studios, Paris, 2022-2024 / Commissioned by INA grm Electric guitars performed by Stephen O’Malley / Recorded at Applehead Studio, Woodstock by Randall Dunn, September 2022 Winds performed by Hans Teuber (bfl, fl, bcl, cl, tpt) & Stephen Moore (tbn) / Recorded at Studio Litho, Seattle by Floyd Reitsma, September 2022 / Arrangement assistance & conduction by Kali Malone Premix at La Fugitive, Paris with François-Xavier Gilles & Tristan Mazire, February 2023 / Final stereo mix at GRM studios, Paris with Emmanuel Richier, May & October 2024 Mastered by Giuseppe Ielasi, October 2024 / Cut by Andreas Kauffelt at Schnittstelle, October 2024 Portrait by Jamie Hawkesworth, London, November 2024 / Back cover photo by Cahyo Ramadhani “Hand prints in Pettakere Cave at Leang-Leang Prehistoric Site, Maros” Special thanks to François Bonnet, Kali Malone, Emmanuel Richier, Philippe Dao, Jules Négrier, Bardor Tulku Rinpoche, Virginia Woolf, Michael Birnbaum & Neal Ostberg/Sound City Amplification (In memory of Peter Rehberg) ℗ 2023 INA grm © 2025 Portraits GRM Released in association with Shelter Press https://stephenomalley.bandcamp.com/album/but-remember-what-you-have-had Mit "But remember what you have had" setzt Stephen O'Malley seinen musikalischen Ansatz fort und erweitert ihn auf multiphonisches elektroakustisches Schreiben und akusmatisches Hören. Stephen O'Malley schöpft nicht nur aus seiner umfangreichen Erfahrung als Komponist und Live-Instrumentalist, sondern auch aus den zahllosen Studioproduktions- und Mixing-Sessions, an denen er im Laufe seiner vielen Projekte (solo, mit SUNN O))) oder KTL, um nur einige zu nennen) teilgenommen hat. Die Arbeit von Stephen O'Malley an diesem neuen Stück ist ehrgeizig, eine inspirierte Forschung, die sich mit den tiefen Verwicklungen zwischen Polyphonie, Intonation und Timbralität beschäftigt, die durch melodische Motive verstärkt werden. Dazu beschwört O'Malley sein ganz persönliches Klanguniversum herauf, das sich aus verstärkten Texturen, instrumentalen Dauertönen und roher Energie zusammensetzt, um sie in Wellenfronten, Wellen und Schlägen zu brechen, die eine komplexe, reiche und faszinierende Materie weben. "But remember what you have had" ragt als wichtiges Werk in Stephen O'Malleys Repertoire heraus: Es vereint die Vielfalt seines musikalischen Ansatzes auf beispielhafte Weise und legt gleichzeitig die Grundlagen und Versprechen für die Zukunft einer bereits außergewöhnlichen Reise. "Stephen O’Malley is a guitarist, composer, and producer best known as a founding member of Sunn O))), the drone-metal outfit that helped redefine heavy music in both a more spiritual and more academic manner. In addition to earth-shaking doom-guitar minimalism, he has collaborated with avant-garde composers, free improvisers, and noise artists. But remember what you have had is his latest solo album, a single track just shy of 33 minutes that is a logical extension to the Sunn O))) aesthetic. He is joined by Hans Teuber on bass flute, flute, bass clarinet, clarinet, and trumpet, and Stephen Moore on trombone. Each provides sustained tones that weave through O’Malley’s sparse, overdriven guitar figures. Indeed, that guitar is the central focus of this effort, with strong attacks and extended feedback. The tone is higher-pitched and lacks the chugging riffs of some of his earlier works. The wind instruments function less as harmonic counterpoint and more as a shifting field of resonance, enriching O’Malley’s walls of noise without diluting their intensity. While it unclear from the liner notes, it seems that the album is at least modestly overdubbed, with subtle layering and/or studio treatments. These characteristics don’t quite lend the piece an acousmatic quality but put it in that ballpark. Overall, a great listen. But remember what you have had will be released on June 27 by Portraits GRM." [Mike, Avant Music News]	2025	€16.00
O'ROURKE, JIM & C.M.VON HAUSSWOLFF	In, Demons, In!	LP	The time-stopping tract of ’In Demons In!’ is a naturally elemental drone collaboration between eminent experimentalists Jim O’Rourke and CM Von Hausswolf for their eternal admirers at iDEAL Recordings Offering a transfixing peek behind the curtain of pure black hole drone dynamics, ‘In Demons In!’ finds the American in Japanese exile and the proclaimed monarch of the imaginary kingdoms of Elgaland-Vargaland meeting on common ground after 26 years of international correspondence. Initiated in Tokyo 2016 and completed over the proceeding two years in Japan and Sweden, the uncompromisingly adventurous results are galactic in scope and viscerally metaphysical in presence, conjuring scales of abyssal bass and diffused, atomised, abstract dark matter that make the listener feel like a speck of stardust floating in infinity. Using sound as a magickal tool for psychic transport and to finely model notions of the metaphysical that typically elude human comprehension, the near 40’ work feels to collapse billions of years into a glacial moment. Location recordings made in Kathmandu lend an barely there iridescence, like microbial filaments flickering in the endless darkness, to their plunging, subharmonic basses and vaporised mid-upper registers, where spectral forces comb thru the piece, only very gradually altering the weightless keen of its planetary mass and mental traction. Ultimately, and fans are likely to agree, ‘In Demons In!’ amounts to a vitally definitive entry in both artists’ catalogues, marking right up there with the most abstract wonders of O’Rourke’s electro- acoustic Steamroom volumes, while manifesting some of the most fascinating results from Von Hausswolff’s ongoing investigations into drone music’s paranormal properties. In other words: it’s Grade A+ zoner music.	2019	€25.00
OFFTHESKY / PLEQ	A Thousand Fields	do-LP & 7inch	A Thousand Fields is the first collaboration between Denver, Colorado based artist offthesky (Jason Corder) and Warsaw, Poland based musician Pleq (Bartosz Dziadosz). From the opening restrained "Ashes of America" with intermittant ominous strings through the industrial landscape of "drown under..." with it's glittering glass and harmonious drones breaking through, this work of ambient tapestry sees each artist pulling the best work from one another. Both are veteran experimental and ambient recording artists with dozens of recordings to their credit. Featured on a multitude of labels that read like a roster of contemporary ambient and soundscape recordings - Home Normal, Ephre, Taalem, Databloem, dataObscura, Basses Frequencies, Constellation Tatsu to name just a few. This recording feels like a potential has been met. What has been hinted at in solo and prior collaborations meshed together with an influence of equal parts minimalism, fourth world ambience, field recordings, drone, and experimental composition to a stunning degree. Composition is thrilling when notes are allowed to breathe, to vibrate. A single piano string, the circular slow melody of a violin, as on the nostalgic "Delicate Exit" or the delicate assembly of abstract beauty - distant harp, an interrupted string section, shuffling of feet, a ghostly echo as on "simulacromancer". This is a 2xLP set, mastered by Carl Saff, cut at 45 rpm. It is housed in a tip-on style heavy gatefold sleeve with OBI strip featuring artwork from Pyhai. The first 300 copies will include a bonus 7" entitled "Still Your Bones" (INFX 062 S) with 2 exclusive tracks. The entire pressing is a 500 copy edition, available in white 180g vinyl (limited to 100 copies White vinyl Sold Out) and the remaining 400 copies will be on black 180g vinyl. Includes unlimited streaming of A Thousand Fields via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. https://infraction.bandcamp.com/album/a-thousand-fields	2015	€32.00
	A Thousand Fields	CD	A Thousand Fields is the first collaboration between Denver, Colorado based artist offthesky (Jason Corder) and Warsaw, Poland based musician Pleq (Bartosz Dziadosz). From the opening restrained "Ashes of America" with intermittant ominous strings through the industrial landscape of "drown under..." with it's glittering glass and harmonious drones breaking through, this work of ambient tapestry sees each artist pulling the best work from one another. Both are veteran experimental and ambient recording artists with dozens of recordings to their credit. Featured on a multitude of labels that read like a roster of contemporary ambient and soundscape recordings - Home Normal, Ephre, Taalem, Databloem, dataObscura, Basses Frequencies, Constellation Tatsu to name just a few. This recording feels like a potential has been met. What has been hinted at in solo and prior collaborations meshed together with an influence of equal parts minimalism, fourth world ambience, field recordings, drone, and experimental composition to a stunning degree. Composition is thrilling when notes are allowed to breathe, to vibrate. A single piano string, the circular slow melody of a violin, as on the nostalgic "Delicate Exit" or the delicate assembly of abstract beauty - distant harp, an interrupted string section, shuffling of feet, a ghostly echo as on "simulacromancer". This is a 2xLP set, mastered by Carl Saff, cut at 45 rpm. It is housed in a tip-on style heavy gatefold sleeve with OBI strip featuring artwork from Pyhai. The first 300 copies will include a bonus 7" entitled "Still Your Bones" (INFX 062 S) with 2 exclusive tracks. The entire pressing is a 500 copy edition, available in white 180g vinyl (limited to 100 copies White vinyl Sold Out) and the remaining 400 copies will be on black 180g vinyl. Includes unlimited streaming of A Thousand Fields via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. https://infraction.bandcamp.com/album/a-thousand-fields	2015	€14.00
OJERUM (øJERUM)	The Limited Circle Is Pure	CD	One of Denmark’s most enigmatic and creative figure returns with the follow up to his highly acclaimed 2019 masterpiece “Without Blood The Sun Darkens". Keeping with the unique approach of a 1 track album, we are graced with static filed and emotionally drifting ambient soundscapes that are poignant and never let go. Slow moving, sorrowful reveries of rich organ tones, repetitive patterns and plaintive melancholy offers a poignant and compelling narrative. which feel like an imposed idleness is this overly hectic world. øjeRum proves once again that he is a very distinctive voice in the panorama of modern day Ambient artists, and we're more than honoured to present his latest work. Edition of 300 copies in 4 panel Digipak. 1 Track. https://cycliclaw.bandcamp.com/album/the-limited-circle-is-pure	2023	€14.00
OLIVEROS, PAULINE	Reverberations: Tape & Electronic Music 1961-1970	11 x CD BOX	https://imprec.bandcamp.com/album/pauline-oliveros-reverberations-tape-electronic-music-1960-1970-12cd This dense 11 disc retrospective of Pauline Oliveros’ early and unreleased electronic work includes her very first piece made for tape in 1959. Organized chronologically, this set not only documents Pauline's earliest electronic music but it also functions as an early history of electronic music itself. Follow as she participates in the establishment of the legendary San Francisco Tape Music Center and then moves to University Of Toronto Electronic Music Studio, Mills Tape Music Center and University of California San Diego Electronic Music Center. This 10th anniversary edition is packaged in a clamshell-style box containing all the tracks from the 2012 edition spread out over 11 CDs each housed in single pocket sleeves. A 36 page booklet includes extensive liner notes and essays from Pauline Oliveros, Alex Chechile, Ramon Sender, David Bernstein, Corey Arcangel. Pauline Oliveros was a composer, performer, humanitarian and an important pioneer in American Music. Acclaimed internationally, she forged new ground for herself and others. Through improvisation, electronic music, sonic philosophy, teaching and meditation she created a body of work with such breadth of vision that it profoundly affects those who experience it and eludes many who try to write about it. "On some level, music, sound consciousness and religion are all one, and she would seem to be very close to that level." John Rockwell Pauline Oliveros built a loyal following through her concerts, recordings, publications and musical compositions written for soloists and ensembles in music, dance, theater and inter-arts companies. She provided leadership within the music community from her early years as the first Director of the Center for Contemporary Music (formerly the Tape Music Center at Mills), director of the Center for Music Experiment during her 14 year tenure as professor of music at the University of California at San Diego to acting in an advisory capacity for organizations such as The National Endowment for the Arts, The New York State Council for the Arts, and many private foundations. She served as Distinguished Research Professor of Music at Rensselaer Polytechnic Institute and Darius Milhaud Composer in Residence at Mills College. Oliveros was vocal about representing the needs of individual artists, about the need for diversity and experimentation in the arts, and promoting cooperation and good will among people. She was honored with awards, grants and concerts internationally. Whether performing at the John F. Kennedy Center in Washington D.C., in an underground cavern, or in the studios of West German Radio, Oliveros' commitment to interaction with the moment went unchanged. Oliveros passed away peacefully on November 24, 2016 but her sonic legacy and philosophy continues to grow and inspire. 2022 edition track listing (11 CD set adapted from 12 CD edition. All tracks included): Disc 1: 1961 Pauline Oliveros Home Studio Time Perspectives 1964-1966 San Francisco Tape Music Center Mnemonics I Mnemonics II Mnemonics III Disc 2: 1964-1966 San Francisco Tape Music Center Mnemonics IV Mnemonics V Disc 3: 1966 University Of Toronto Electronic Music Studio II Of IV III Of IV IV Of IV V OF IV III Disc 4: 1966 University Of Toronto Electronic Music Studio Team And Desecrations Improvisation The Day I Disconnected The Erase Head And Forgot To Reconnect It Jar Piece Disc 5: 1966 University Of Toronto Electronic Music Studio Another Big Mother Fed Back 1 Fed Back 2 Disc 6: 1966 University Of Toronto Electronic Music Studio 5000 Miles Angel Fix Disc 7: 1966 University Of Toronto Electronic Music Studio Bottoms Up 1 Nite Ringing The Mods 1 Heads Ringing The Mods 2 Tails Three Pieces I Three Pieces II Three Pieces III Disc 8: 1966-1967 Mills Tape Music Center Big Slow Bog Boone Bog Disc 9: 1966-1967 Mills Tape Music Center Bog Bog Mind Bog Disc 10: 1966-1967 Mills Tape Music Center Mewsack 1967-1970 University Of California San Diego Electronic Music Studio 50/50 Heads(Buchla Piece head out) 50/50 Tails (Buchla Piece tails out) Disc 11: 1967-1970 University Of California San Diego Electronic Music Studio A Little Noise In The System Red Horse Headache	2022	€80.00
OLIVEROS, PAULINE / FRANCISCO LOPEZ / DOUG VAN NORT / JONAS BRAASCH	Quartet for the End of Space	CD	"This recording consists of 8 electro-acoustic compositions. 2 pieces by each of the 4 composers. The works span a vast sonic terrain, challenging listener and performer alike through a seamless blend of Deep Listening and Absolute Noise, moving between ever-fluid improvisation and carefully controlled sound manipulation. The quartet convened for two improvisational sessions between February and May of 2010, with López sitting in on a Triple Point (Oliveros-Van Nort-Braasch) recording session and bringing his finely crafted sonic objects-as-instruments, further spanning the electro-acoustic divide that has become Triple Point’s calling. The four later re-formed for their debut concert at the Deep Listening Institute in Kingston, NY in September of 2010. These sessions have since become raw material for the individual artists to construct new visions of this shared sonic body through extensive and thorough evolution of the recordings - personal reflections culled from a collective tapestry. Pauline Oliveros has influenced American music extensively in her career spanning more than 60 years as a composer, performer, author and philosopher. She pioneered the concept of Deep Listening, her practice based upon principles of improvisation, electronic music, ritual, teaching and meditation, designed to inspire both trained and untrained musicians to practice the art of listening and responding to environmental conditions in solo and ensemble situations. Francisco López is internationally recognized as one of the major figures of the sound art and experimental music scene. Over the past 30 years he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. Destroying boundaries between industrial sounds and wilderness sound environments, shifting with passion from the limits of perception to the most dreadful abyss of sonic power, proposing a blind, profound and transcendental listening, freed from the imperatives of knowledge and open to sensory and spiritual expansion. Doug Van Nort is an experimental musician and digital music researcher whose work is dedicated to personal and collective creative expression through noise, free improvisation and generally electro-acoustic means of production, from the lo-fi of broken electronics to the hi-tech of custom signal processing algorithms. Recent projects have spanned telematic music, laptop ensemble compositions,, immersive electro-acoustic works, interactive sonic installations and machine listening systems. Jonas Braasch is an experimental soprano saxophonist and acoustician with interests in Telematic Music and Intelligent Music Systems. He has performed with Curtis Bahn, Chris Chafe, Michael Century, Mark Dresser, Pauline Oliveros, Doug van Nort and Stuart Dempster among others. His saxophone style expands the traditional repertoire by incorporating various non-western elements and extended techniques." [label info] www.pogus.com	2011	€13.00
ONODERA, YUI & CELER	Generic City	CD	" 'Generic City' is the debut release for Two Acorns, a new label/publisher curated by Will Long of Celer. 'Generic City' is presented in a custom-designed CD package, created by mondii, with photography by Danielle Baquet-Long, and mastered by Taylor Deupree. 'For this collaboration work, I made a lot of field recordings. Songs of migratory birds that come to a big lake only in winter, the sound of breaking ice, frozen on a lake, the peal of huge bells in a temple, voices in prayer to the Buddha, footsteps in the subway, on the ground, made by coming and going people, machine sounds at a construction site, rain flowing into a steel pipe with a hard sound, the oscillation sound of rubbing iron which was recorded through a contact mic set on steel, the conversation of people walking in the city, noise of vehicles and trucks, kids voices from an elementary school, and so on. Like a time trip to transcend places, these sound-scapes are presented as a imaginary tale. To collaborate with foreign artists became a chance for facing Japan again for me. Reflecting on each of our localities to compose let us be aware anew of the vernacular which has been lost in the global world. Artists can't be unrelated to the characteristics (culture) of places (surroundings) where they live, and they are influenced obliviously in some way. By watching our everyday surroundings closely, we can engender a most realistic language of where we live, and how we think. I sense that peculiar, unfamiliar cultures and customs are invaluable wealth in human history.' - Yui Onodera 'In this collaboration work with Yui Onodera, we contributed many instrument sounds, and field recordings such as the streets of Los Angeles, rain on our doorstep, water draining into the gutter, cars passing on wet and slippery streets, people walking on their way home from work, talking in an airport baggage claim, crosswalks, airliners flying over, taxi rides, riding bikes through traffic, conversations in restaurants, the Metro Link train in Los Angeles, and walking on quiet streets. In our part of mixing, since we were working with someone's instrument sounds and field recordings from a city that we haven't visited, much was left to our imagination to re-create an environment and city setting for the piece. Trying to keep a balance between the heavily processed material and the entirely unprocessed material, created a natural bridge of movement inside the city. Processed elements became backdrops and scores to real activity, sometimes simply drifting away from the daily life, or the finding the soul of the pieces. When these two entirely different cities came together, it created an all new way of looking at, and hearing the city's movements around us. Cultures parallel one another, with the views of the skylines and empty streets left the only visible evidence of similarity.' - Danielle Baquet-Long, Will Long " [label info] www.thesingularwe.org/twoacorns "Two Acorns is a new label started by Will Long, one half of Celer. He deals with 'things you can hold in your hand, or keep on your bookshelf, to keep these feelings, memories, and experiences. There is no replacement for the smell of a book, the spin of a CD player starting'. Hear hear. The label starts of with a collaborative release of his band Celer (which was Long and his partner Danielle Baquet-Long, who passed away) and Yui Onodera. The latter provides field recordings, electronics, guitar, violin, piano and musical box, while Celer holds the mixing board, cello, violin, piano, field recordings, theremin, electronics and ocarina. I am not sure but I don't recall seeing many collaborations of Celer, but the result, four lengthy pieces work out quite well. Its probably everything you would expect from such a collaboration (you could debate wether that is good or bad), but the gentle, sustaining, of course drone - a word that can't be avoided when talking about Celer nor Onodera - like atmospherics work quite well, but what seems interesting is that many of the field recordings go unprocessed into the mix. Lots of rain, water, animals, street sounds, stuff that seems to be picked up with contact microphones and such like, and they bathe quite well in the string of sounds woven together on the various instruments. They add a great spice to the music, which doesn't stick that much in the world of 'just' drones too much. Beautifully ringing overtones, 'heavy' street sounds, air traffic and crackling of leaves: together they create a mighty fine aural landscape. Beautiful." [FdW/Vital Weekly]	2010	€12.50
OPIUM / SOSTRAH TINNITUS	Stain	CD	"Warm, involving, deep and penetrating sounds... Flowing sounds patterns, vibrating drones permeated by a discreet sense of tension, evolving in dark, obscure, foggy, nocturnal atmospheres, violated by raven voices, mysterious noises and sounds of metal objects in motion... And then concrete noises, confused and elusive melodies, feeble light flashes, buried echoes of human voices, distantr whispers, sudden passages of rough sounds, undefined nuisances, subliminal and hypnotic sequences, just like a recollection of unreal and dusty sounds from an old carillon... An extraordinary and not to be missed journey in the darkness, lead with great skill by two of the most remarkable artists coming from the Italian ambient/dark-ambient scene of the last decade." [label info] www.silentes.net	2011	€12.00
ORCHESTRAMAXFIELDPARRISH	The Silent Breath of Emptiness	CD	Geheimtip für Freunde von orchestralem Ambient.. dieses wallende Meer entstand "live in one take", basierend auf Gitarrenklängen (diese sind allerdings kaum noch auszumachen); 50 Minuten lang. "(fs7) - Limited edition full color digipak with obi strip. The first new full length orchestramaxfieldparrish work since 2002's highly revered 'Tears' is now scheduled to be released January 1, 2008, titled The Silent Breath Of Emptiness. This new recording consists of an improvised solo electric guitar soundscape originally intended for an exhibition of local area visual artists that never came to be. This piece was totally improvised, recorded live and captured in one take and then divided into 4 parts. No overdubs were done so as to not augment the original intention of the piece. A reconstruction of the entire work is included as the fifth track. Recorded and mastered in 96K 24 bit audiophile audio. Beautifully presented in a full color limited edition digipak with matte varnish. First edition includes a handmade obi strip of vellum only available direct here and not through other distributors.." [label info] www.faithstrange.com	2008	€13.00
ORGANUM	Omega	CD	"...Sitardrones evozieren buddhistische Untertöne, Dröhncluster schlagen die Stunden, die Ecclesiastes 3:1-8 wie eine Litanei aufzählt: A time to weep, and a time to laugh; a time to mourn, and a time to dance; eine Zeit zu suchen und eine Zeit zu verlieren; A time to love, and a time to hate; a time of war, and a time of peace. Omega ist selbst in sich wieder dreigeteilt und erfüllt in der finalen von drei nahezu gleichen Viertelstunden den ganzen Raum mit pantheistischer Erhabenheit. Jackman nannte (im Interview mit Kevin Spencer) für das, was ihm vorschwebte, big slow shape in time, Kegelschnitte und die minimalistischen Lichtinstallationen von Dan Flavin. Kühle, symmetrische Struktur, warmer Klang, keine Psychologie, keine höhere Bedeutung. A piece of time, a time of peace." [Bad Alchemy] Third part of this great ORGANUM comeback trilogy, more floating again, endless repetitions of the same sounds lead to an experience of timelessness... brilliant sounds & a highly contemplative effect... "Collecting music for the sake of collecting is not something I am very keen. Music hearing for the sake of hearing music, that is what I like. There are a few artists whose new works I usually try to get, and Organum is one of them. Although I must admit, I sometimes (or perhaps more often than not) am clueless what it is about. If it's about something at all. The music by Organum is a mystery that comes in clusters. The cover of 'Omega' looks like 'Sanctus' and 'Amen', so no doubt there is a relation in the music, which comes to form in the use of a church organ like sound, some highly processed chime like sound and a deep drone of rusty metal in the background. Just as on 'Sanctus' and 'Amen' - and much true to the form of Organum mystery, there are three pieces here, which all sound quite similar - or perhaps they are similar? You can't tell, and that's probably the whole point. After some fifteen minutes, another track of fifteen minutes that sound similar, is that then also similar? It's a question Organum asks himself, or rather, just raises for us to find an answer too. I am afraid I have no answer myself. I sit back and listen and wondering what this means, 'Omega', 'Sanctus' and 'Amen' - a holy trilogy? Better would be, perhaps, not to ponder too much about this and just enjoy that crazy genius Organum. I am long converted to his belief." (FdW / Vital Weekly)	2008	€14.00
ORGANUM / Z'EV	Tocsin	CD	Endlich mal was ganz neues von ORGANUM: diese Zusammenarbeit mit Z’EV entführt mit Piano und Stahlklängen in objektlose Sphären und melancholische Zwischenspiele, eine überraschende Zusammenführung, die gut funktioniert... “Following their maxi CD 'Tinnitus Vu' on Touch in 2004 'Tocsin' is the first full lenght album by these two renowned sound artists. Whereas Z'ev simply reworked already existing work by Jackman for 'Tinnitus Vu', this time the artists agreed to both meet in the studio for 'Tocsin'. They created and recorded sounds from a piano which can be found at RMS Studios London and a stainless steel piece built by Z'ev circa 1989, over the course of several hours, took the recordings home, and after a period of each one mixing these sounds by themselves came up with what can be heard on this CD. Two distinctively different works/sections by both artists which form a multilayered and fascinating album. Design by Janthan Coleclough. Edition of 600 copies in full colour 4 panel digisleeve. Total playing time: 49:24 min.” [press release] “.....Together they went in the studio one day in 2004 and each played an instrument: Z'ev played a stainless steel instrument, built in 1989 and Organum played piano. They improvised for several hours and then each return home to work on their own mix of the material. It's hard to believe that these are two sides of the same coin, really. One of he two lengthy Organum pieces dwell heavily on sparse piano sounds, with vague rumblings in the background. Maybe the plucking of the stainless steel instrument, but it's kept to a strict background. The other piece shows similar piano notes but with bowing sounds and long sustains on metal. Z'ev on the other hand has seven shorter pieces and each seems to rely heavily on sustaining sounds, scraping sounds with piano notes forming a much looser connection to the whole. It seems to me that Z'ev added more electronic processing to the sounds, such as the use of reverb and delay. Unlike what you could easily believe is that the drone like pieces here are by Z'ev and not by Organum. Z'ev's pieces are more along the lines of the previous Touch release. Quite a fruitful collaboration and hopefully more to come.” [FdW / Vital Weekly]	2004	€14.00
ORPHAX & MACHINEFABRIEK	Weerkaatsing	CD	Weerkaatsing is the first collaboration by Rutger Zuydervelt (Machinefabriek) and Sietse van Erve (Orphax), both active players in the Dutch experimental electronic music field. While their paths did cross many times at concerts either as visitors or as performing artists, never before these prolific musicians got together. And as with so many collaborations also this one has a story behind it: Reflectie (Orphax) The idea behind this collaboration started in 2007, when Rutger released his EP Stofstuk and following this the remix album Kruimeldief. For years since the release I was intrigued by this little piece and the various remixes, and always had the idea of making a remix myself (and actually to start a series of unrequested remixes). Finally in 2016 I took the time to really work on this Stofstuk remix. With some magic and other forms of witchcraft I created the almost 20 minute long drone piece Reflectie, based solely on the Stofstuk piece. I tried to put a real Orphax touch to the work, but without losing the true Machinefabriek sound. As such it really felt for me as if we did a collaboration; and it was screaming for more. So I told Rutger about this and after I sent him the piece the idea came he would also remix one of my works. And from there this collaboration really kicked off... Spiegeling (Machinefabriek) The first time I met Sietse was at a gig in Utrecht, probably in 2006 or so, but I’m not sure. Since then, I saw him at so many gigs… one of the regulars of the scene, I’d say. Anyway, in 2007 I invited a load of artists to make a remix of my track ‘Stofstuk’. The results appeared on the album ‘Kruimeldief’, but what was missing was Sietse’s remix. At least, that’s what I found out recently. Apparently he had been ‘secretly’ working on a beautiful 20-minute remake of my track. Damn, it was too nice not to do anything with it, so we decided that I should return the favour and do a remix of an Orphax piece. I choose 'Geluiden van de Eerste Dag’, of his 'Tragedie van een Liedjesschrijver’ album, the piece that resonated the most with me. And the rework was done in no time. Not because I was in a hurry, but because the basic material of the track was so grateful to work with. I added a few looped snippets of violin which I recorded at a rehearsal (for another piece), and these worked perfectly with Sietse’s sounds. ‘One plus one equals three’, I’d say (cliché or not). Weerkaatsing (Together) So then we had two remixes. We had already decided to release this somehow, but it didn’t feel complete yet. That’s when ‘Weerkaatsing’, the title track, came to life. The most ‘collaborative collaboration’, and our favourite track of the album. It’s like the table tennis illustration on the cover; we kept bouncing sounds back and forth, until the track was finished. Which, again, didn’t take long. We were clearly on the same wavelength, and together with the other two tracks, we think it’s a really solid drone album. movingfurniturerecords.bandcamp.com/album/weerkaatsing "In a small country like The Netherlands there is a small, lively scene of experimental musicians, who bump into each other quite a lot and it is almost inevitable that there will be collaborations. Sietse van Erve, also known as Orphax bumped into Rutger Zuydervelt, alias Machinefabriek, bumped into each other a lot, as players of concerts or visitors to other concerts. Orphax was also interested in 'Stofstuk', an early piece by Machinefabriek (see Vital Weekly 573) that got quite quickly a remix CD to its name (see Vital Weekly 586). Van Erve was not on part of that remix project but over the years worked on a remix of his own and when Rutger found out, he decided to thank by doing a remix of an Orphax piece, 'Geluiden van de Eerste dag' from 'Tragedie Van Een Liedjesschrijver' (see Vital Weekly 899), in a twenty minute piece. To top it off they worked on a joint piece of music, bouncing sound files back and forth and now all three pieces. These three pieces are now to be found on 'Weerkaatsing', which means reflection, just as all three pieces have titles which Dutch synonyms for 'reflection'. Many works by both artists have been reviewed in Vital Weekly, and if you read what was written over the years, you know the words 'drone' and 'ambient' have been used quite a bit. This collaborative is not different and both play what their fans, me included, expect them to do. Where Machinefabriek has the sustaining organ sound Orphax is known, along with the stretching of bell sounds, Orphax uses the violin loops of the original and even allows for some rough cuts. Machinefabriek seems to be at his most minimal in this piece, in awe of Orphax, I'd say, and Orphax returns by showing a more musical side. In their duet piece they go for the more conventional drone approach and it consists of many layers of Orphax' old organs picked up in a space with a microphone adding an excellent space feel to them, and it gets a lovely treatment. This CD has a great cover too, courtesy by Zuydervelt. An excellent release." (FdW/Vital weekly)	2017	€12.00
ORSI, FABIO	Late Afternoon Tapes	CD-R	recorded, edited and mastered in my studio, Litoranea salentina, March 2022 fabioorsi.bandcamp.com cover collage by Robert Kerber “Für gewöhnlich versuchte er, einen winzigen Augenblick in der Zeit festzuhalten, aber manchmal fand er Vergnügen daran, kleine Geschichten zu erzählen” robertkerberart.wordpress.com With this album, the labels attenuation circuit, run by EMERGE, and Grubenwehr Freiburg, run by Grodock, launch a new series of co-releases, marked by their catalogue code with the label 'initials' ACGF, but especially by their over-sized artwork in the format of a 7'' vinyl single sleeve. The aim is to give artists a broader exposure across the various networks of the two labels. Fabio Orsi, who divides his time between Berlin and his native Southern Italy, makes ambient music in the best possible sense of the term. Not in the sense that it is music that just textures the air as some kind of acoustic wallpaper or furniture and doesn't actually deserve attentive listening. But rather music that attunes itself to the slow changes in atmospheres, light and weather conditions, the ambience in the sense of the (natural) world that surrounds and in many ways (still) defines us. “Late Afternoon Tapes” with its slowly meandering guitar-based textures will not only appeal to fans of guitarists like Robert Fripp or Christian Fennesz, but also – and the “Tapes” in the title may be a conscious hint at that – to anyone who enjoyed William Basinski's “Disintegration Loops”. When it's late afternoon, the light fades into an eventual darkness. This is music to go gentle into that good night, to paraphrase Dylan Thomas, or at least Fabio Orsi's music “makes time pass a little less painfully” (Anne Clark). File under: ambient "Last week, I wrote about the Silentes label and Fabio Orsi, these are very active people. Here we have a CDR release. It marks the beginning of a collaboration between Attenuation Circuit and Grubenwehr Freiburg. As I commit these words to the screen, it is not yet late afternoon, but the idea behind the music is evident. Daylight fades, the day ends, and there is a soundtrack for that. 'Thursday Afternoon' from Brian Eno is such an appt title in this respect. Orsi's recent music is all about synthesizers, sequences and arpeggio. I am not sure if that is the case with this new release. Maybe he returned to his guitar and loops? Or perhaps it is a combination of both? I suspect the latter to be the case here. These five pieces sound not unlike Eno or Fripp, solo or together, and are something of a departure for Orsi; or a sidestep. The music is slow, with minimal changes. A few notes are hanging in the air thick of cloudy drones. The result is fuzzy and hazy music. I enjoyed this very much, but I guess Orsi can't do much wrong in my book. For me, this is not the soundtrack of the end of the day, but rather the start of the day, my favourite moment to play ambient music. In that sense, this is music for every day, all times of the day, depending on what the listener chooses." [FdW /Vital Weekly]	2022	€8.50
ORSI, FABIO / TEZ	Otto	CD	13/Silentes presents the fruitful first collaboration between FABIO ORSI and the Italian interdisciplinary artist and independent researcher MAURIZIO MARTINUCCI (aka TeZ), mostly knownfor his collaboration with ADI NEWTON in CLOCK DVA. Together they have created a work as dense as it is intense, with cosmic traits that are aptly depicted in the images featured on the artwork. A work in which the experience of its two authors reaches a unique climax where you can only let yourself loose without placing any limits on your senses. “Two liquid minds that meet in a truly surprising creative partnership, devoted to the alchemy of electronic weavings that pulse, dig, transform, dare, reinvent. The artists in question are Fabio Orsi and TeZ, talented musicians who need no introduction other than to point out that we find ourselves in the presence of two veterans of avant-garde experimentation and ambient noise that drives out hidden horizons by intercepting them in the space-time folds of the sound dimension. The plastic breath of OT / TO's 'optophonic' compositions denotes elements of visionary writing out of the ordinary, like prismatic figures in the odour of quantum mechanics, or like chiselled tonal profiles that refer to the synaesthetic idea of a music susceptible to becoming a vehicle for sublimating multi-sensory experiences. If Fabio Orsi shows off his knowledge as an imaginative creator of mental-oneiric atmospheres through the hallucinogenic, deeply immersive registers of his instrumental apparatuses based on electronic patterns, field recordings and variable frequency drones, TeZ is the synthesist of post-science and of the kinematic algorithm that triggers highly pervasive vibrational dynamics, the strategist of the mathematical pulsation that forges cycles of gravitational currents and vortexes of telematic sounds with innovative pronunciation. It is no wonder that Adi Newton wanted him permanently at the court of Clock DVA and that he has also distinguished himself in comparative research into the interrelational potential of sound, light and space. It is from this molecular fusion that the genesis-synergy of a work full of magnetic properties and captivating waveforms is triggered. Eight tracks, each of which is marked by a specific numbering (from one to eight), according to a numerical sequence aimed at the 'philological' purposes of the authors. What comes to life is a phenomenon of tensional factors and sinusoidal events in continuous movement, like atoms of fluid crystals that change shape and volume, perspective angle and tactile sensation, regenerating between one loop-scan and another, while the harmonics float, dart, throb and dance on the mesmeric granular stratifications of the drones. A fine elaboration of phono-particle complexions for a four-handed challenge that we can consider decisively won.” - Aldo Chimenti CD in 6-panel digisleeve, ltd. 200 copies 13.silentes.it/private_sounds/sps2247_orsi_tez.htm	2022	€13.00
OVAL LANGUAGE, THE	Hibernation	LP	The Oval Language is an autonomous art project founded in 1987 in Leipzig, East Germany, by Klaus-Peter John and Frank Berendt, and continued to this day by John. Its fields of activity are multifaceted and have included sound-noise performances, conceptual works in open spaces, installations, land art projects, photography, etc. The Oval Language has collaborated extensively with various artists, among others Nicolai Angelov, Koyo Axel Guhlmann, and Guido Hübner of Das Synthetische Mischgewebe. Around 1991, the then members of the group – John, Berendt, and Peter Schüler – were exploring the irrational impact of the Monument to the Battle of the Nations (Völkerschlachtdenkmal) near Leipzig and presented the tri-media project "Hibernation", based around their attempts at approaching the undercurrents that are conserved within the imagery associated with the monument. Hibernation comprised live performances at the Academy of Fine Arts Leipzig (Hochschule für Grafik und Buchkunst, HGB) and at the Museum of Ethnography, an event sculpture in front of the monument which involved the burning of large amounts of straw, and an installation at the briquette factory Zechau near Altenburg. "Hibernation is about the Monument to the Battle of the Nations near Leipzig. We don't look at it through the historical prism of the 1813 Battle of the Nations, though. We are concerned with the monument as a Gesamtkunstwerk, as a manifestation of irrational German thinking in previous times and its impact on today's generation." (The Oval Language) This LP reproduces the sound layer of Hibernation and includes a recording of a live performance at the HGB, made in 1991. Printed inner sleeve with photos of each stage of the project and texts. Edition of 300. www.edition-telemark.de/785.01.html	2017	€20.00
OVRO	Horizontal / Vertical (SOLD OUT)	7inch	"OVRO has already been called "the wondergirl of Finnish experimental music" and with this, her first ever vinyl-release, she really proves this! On HORIZONTAL / VERTICAL deep waving droning noises are set against vortexing echoes & swirling digital effects, derived from what could be instrumental sources or object recordings, moving the willing listener into a surrealistic subconscious dimension. Especially on the second side the contrasting conrete material can fill your imagination with "something" that "happens", so captivating & condensed! This music spreads like an unconscious aural travelogue in different spatial directions (horizontal & vertical). What makes OVRO so special is her capability to create very "cinematographic" and "narrative" drone-atmospheres or landscapes, with great care for even tiniest details. OVRO is also a part of the SOME PLACE ELSE-association, together with NIKO SKORPIO. Filed under: Subsconscious Travel-Drones more info: www.someplaceelse.net/artists/?id=ovro WHITE VINYL. HANDMADE COVERS PASTED UP WITH NEWSPAPER-SHEETS & FILMSTRIPS" [label info] www.dronerecords.de "Auch OVRO, die mit Horizontal / Vertical (DR-93, white vinyl, red labels) erstmals auf Vinyl zu hören ist, bekennt sich zu einem ‚Anderswo‘, das als Label Some Place Else eine Adresse in Venäjänkangas hat, in den Hinterwäldern von Turku. Dort hat die junge Finnin Musik veröffentlicht - Malice in Underland (2003), Gegendurchgangenzeit (2005), Mosaick the Serpent / Vipera Aurea (2006) und Revisited (2008) und weiteres als Hæretici 7o74, einem Duo mit Niko Skorpio - , die jedem, der sie hörte, in die Zwielichtzone zwischen Tag, Traum und Alptraum entrückte und Geheimnisse zuflüsterte, wie sie Dichter als Krikelkrakel einer anderen Macht zu Papier bringen. Schon das Video zu ‚Equation Impossible‘ macht eine Faszination durch Stummfilmhorror und Schwarzweißfilme von Polanski deutlich. Hier suggiert ein aufgeklebter Filmstreifen auf den handgefertigten EP-Hüllen eine cineastische Qualität der ominösen Klänge, die ins Bewusstsein einsickern wie nichts Gutes. Eine grummelnde Basswelle, wischende, fast krächzende und kaskadierende Loops, die rückwärts und linksherum gegen das Gebot der Zeit verstoßen. ‚Undergrounded‘ und ‚Elevatored‘ steht auf den Auslaufrillen. Man steckt in einem Untergeschoss fest, und das leise Klopfen und Scharren vor der Tür lässt einen zittern, dass sie nicht aufgeht. Oder ist es nur der eigene Puls im Ohr, und schon zittert der furchtsamen Nachtwache in der Hirn-Morgue sprichwörtlich ‚jedes Blatt‘?" [Bad Alchemy]	2008	€7.00
OVUM	Eld	CD-R	Ein one-tracker (51 Minuten) vom schwedischen dark ambient-Projekt, Zeitlupen-drones und leicht sirrende elektronische Effekte, die ganz langsam niedersinken.... windartige, verhallte Filterrauschsounds verstärken eine Atmosphäre des Unendlichen und Transzendentalen. Sehr schönes Artwork (2-fach Vollfarb-Pappklappcover mit GLUT darauf), insgesamt ein exzellenter dark-drone-ambience Release! TIP !! “OVUM is the main project of Karl Midholm from Sweden, his style may be best described as a mixture of Industrial-Ambient and Drone Music. "Eld" was created in 1999 using recordings of fire as the only sound source. Such recordings were subsequently run through filter banks and effect units, resulting in one fifty minutes long track of evolving beautiful drones. The album was originally intended as part of a various artists set dealing with the four elements that unfortunately was never released. After five years from its creation, it finally see the light of day as another Blade Records / Afe Records co-production.” [label description]	2004	€6.00
P16.D4	Kühe In 1/2 Trauer	LP	https://www.sonoris.org/product/p16-d4-kuhe-in-12-trauer-lp/ LP version. Reissue, originally released in 1984. P16.D4 was a German electronic noise music collective, active primarily from 1980 to 1988. P16.D4 embraced tape cut-ups, musique concrète, endless recycling, and transformation of previously published material, and many long-distance collaborations with like-minded artists such as DDAA, Vortex Campaign, Nurse With Wound, and Merzbow. Their active participation in the international industrial tape scene yielded collaborative output such as their release Distruct, where bands such as Nurse with Wound, Nocturnal Emissions, Die Tödliche Doris, and The Haters provided the source material. The longest-term collaboration was with the installation and conceptual artist Achim Wollscheid, who used P16.D4 sounds as the basis for LPs he recorded under the name SBOTHI. Ralf Wehowsky, the only constant member of the group, later released solo material under the alias RLW. Members of P16.D4 were also involved with Selektion, a collective of people involved with sound as well as the visual arts. Selektion published LPs, CDs, books, visual art and design. The collective worked in a strongly improvised, spontaneous and anti-professional way, using acoustic and electronic instruments, using existing sound fragments, duplicating and alienating them, using repetition, distortion, changes in speed and playing direction. For this they used not only sounds of other artists but also their own material from earlier productions. Late works of the collective are associated with musique concrete. "This music is staggeringly original and innovative, and while it's possible to locate it in a chain of circumstance that links it to 'industrial' music, P16.D4 indulged in none of the empty cliches associated with the genre, worked incredibly hard, and seem to have been aiming at a form of sound art that was much more profound, varied, subversive, and potentially dangerous. Kühe In 1/2 Trauer's accompanying credits indicate their radical approach to making music: lots of improvisation, lots of live electronics, extensive use of tape-loops, some conventional instrumentation, and much that isn't -- like the milk churn on 'Paris, Morgue' or the use of baking tray and washing machine elsewhere. Even when guitars, drums or keyboards are used, they're played very weirdly. It's not even made clear who was doing what; the main credit is 'Concept,' which I assume means that one of the three devised the framework in which the noise would operate itself, and while RLW gets the lion's share of these credits, a lot of the cuts are evenly divided among the team and I have no doubt that the group operated in a very democratic or libertarian manner. None of this prepares you for the insane and troubling sounds that reach your ears, composed with scant regard for conventional logic and following an exciting, absurdist path, especially in the matter of tape edits and juxtapositions of recordings." --Ed Pinsent, The Sound Projector	2022	€20.00
	Kühe in 1/2 Trauer	CD	P16.D4 was a German electronic noise music collective, active primarily from 1980 to 1988. P16.D4 embraced tape cut-ups, musique concrète, endless recycling and transformation of previously published material, and many long-distance collaborations with like-minded artists such as DDAA, Vortex Campaign, Nurse With Wound, and Merzbow. Their active participation in the international industrial tape scene yielded collaborative output such as their release Distruct, where bands such as Nurse with Wound, Nocturnal Emissions, Die Tödliche Doris, and The Haters provided the source material. The longest-term collaboration was with the installation and conceptual artist Achim Wollscheid, who used P16.D4 sounds as the basis for LPs he recorded under the name SBOTHI. Ralf Wehowsky, the only constant member of the group, later released solo material under the alias RLW. Members of P16.D4 were also involved with Selektion, a collective of people involved with sound as well as the visual arts. Selektion published LPs, CDs, books, visual art and design. The collective worked in a strongly improvised, spontaneous and anti-professional way, using acoustic and electronic instruments, using existing sound fragments, duplicating and alienating them, using repetition, distortion, changes in speed and playing direction. For this they used not only sounds of other artists but also their own material from earlier productions. Late works of the collective are associated with musique concrete. https://www.sonoris.org/product/p16-d4-kuhe-in-12-trauer-lp/ ########################################## “This music is staggeringly original and innovative, and while it’s possible to locate it in a chain of circumstance that links it to ‘Industrial’ music, P16.D4 indulged in none of the empty cliches associated with the genre, worked incredibly hard, and seem to have been aiming at a form of sound art that was much more profound, varied, subversive, and potentially dangerous. Kuhe In 1/2 Trauer’s accompanying credits indicate their radical approach to making music: lots of improvisation, lots of live electronics, extensive use of tape-loops, some conventional instrumentation, and much that isn’t – like the milk churn on ‘Paris, Morgue’ or the use of baking tray and washing machine elsewhere. Even when guitars, drums or keyboards are used, they’re played very weirdly. It’s not even made clear who was doing what; the main credit is ‘Concept,’ which I assume means that one of the three devised the framework in which the noise would operate itself, and while RLW gets the lion’s share of these credits, a lot of the cuts are evenly divided among the team and I have no doubt that the group operated in a very democratic or libertarian manner. None of this prepares you for the insane and troubling sounds that reach your ears, composed with scant regard for conventional logic and following an exciting, absurdist path, especially in the matter of tape edits and juxtapositions of recordings.” Ed Pinsent, The Sound Projector. “Though this German group started out as a the new wave band P.D., by the time of Kuhe in 1/2 Trauer, their first LP under the P16.D4 name from 1984, they had developed far beyond into extremely experimental music similar to other post-industrial artists working with abstract avant-garde soundscapes. There’s a bleak industrial feel to the gritty, lo-fi electronics and tape loops, while the group throws in enough curve balls to keep it interesting. On some pieces, strange, looped choirs bubble out of throbbing pulses and drones of feedback, while others have clanging and clattering, and elements of musique concrète and improvisation blur the boundaries even further. The opening track, “Default Value,” is one of those disorienting pieces with noises flying everywhere, while “Paris Morgue” takes excerpts from one of their old P.D. tracks and messes it up with additional instruments, while the ungainly titled fourth track throws in a heavy texture of percussive noises to create an edgy ambience about to teeter off the edge, and the even darker and more ambient title track takes the tension even further. Arrhythmic and amorphous and capable at moments of becoming quite noisy and abrasive, while at others far more somber and quiet, Kuhe in 1/2 Trauer is quite a fascinating release.” Rolf Semprebon / AMG	2022	€13.00
PACIFIC 231 & RAPOON	Palestine	LP + CD	“Palestine” was the first effect of collaboration between two titans of industrial and underground music Pierre “Pacific 231” Jolivet and Robin “Rapoon” Storey. Originally released as limited CD in 2007 by Old Europa Cafe and “Dedicated to the struggling Palestinian Nation and to the memory of Bryn Jones 1961-1999.” Zoharum is proud to present you a first time ever LP reissue of this important album. Given that “Palestine” is dedicated to Muslimgauze and Israeli-Palestinian conflict it’s easy to predict what you’ll find here. Each side of the record presents artists' take on middle eastern rhythm and sound. Side A is raw. For over 20 minutes Jolivet focuses on subtle processing over hypnotic distorted drum loops. On side B Storey takes us on a long, a bit IDM-ish trip following what seems to be Muezzin call. CD contains additional 3 rare tracks that were taken from the limited Old Europa Cafe version of the album and Pacific’s “el-Arish” business card CD. This album is as important due to the subject it touches as it’s true and uncompromising and is still relevant now as it was in the time of its creation. Remastered by Robin Storey. LP edition of 300 copies comes on red translucent 180 g vinyl with CD insert. CD edition of 200 copies comes in a 6 panel ecopack. https://zoharum.bandcamp.com/album/palestine-ext-edit	2021	€20.00
	Palestine (ext. edit.)	CD	“Palestine” was the first effect of collaboration between two titans of industrial and underground music Pierre “Pacific 231” Jolivet and Robin “Rapoon” Storey. Originally released as limited CD in 2007 by Old Europa Cafe and “Dedicated to the struggling Palestinian Nation and to the memory of Bryn Jones 1961-1999.” Zoharum is proud to present you a first time ever LP reissue of this important album. Given that “Palestine” is dedicated to Muslimgauze and Israeli-Palestinian conflict it’s easy to predict what you’ll find here. Each side of the record presents artists' take on middle eastern rhythm and sound. Side A is raw. For over 20 minutes Jolivet focuses on subtle processing over hypnotic distorted drum loops. On side B Storey takes us on a long, a bit IDM-ish trip following what seems to be Muezzin call. CD contains additional 3 rare tracks that were taken from the limited Old Europa Cafe version of the album and Pacific’s “el-Arish” business card CD. This album is as important due to the subject it touches as it’s true and uncompromising and is still relevant now as it was in the time of its creation. Remastered by Robin Storey. LP edition of 300 copies comes on red translucent 180 g vinyl with CD insert. CD edition of 200 copies comes in a 6 panel ecopack. https://zoharum.bandcamp.com/album/palestine-ext-edit	2021	€13.00
PALESTINE, CHARLEMAGNE	STTT THOMASSS	MC	"In memory of the late polymath avant-garde artist Tony Conrad (1940-2016), longtime friend and coconspirator Charlemagne Palestine returned to the site of their first encounter for a tribute performance on what would have been Conrad's 77th birthday. Charlemagne Palestine is a composer, performer and visual artist born in Brooklyn in 1947. Often labeled as one of the founders of minimalism alongside Glass, Niblock, Reich, Riley, and Young, he prefers to call himself a "maximalist", eschewing the clinical stereotypes of the former term in favor of a full-blown erotics of possibility that in its ritualistic performance conjures a sense of sacredness without specificity. But before the intoxicating overtones of the Strumming Music (SR 297CD, SSH 003LP) for which he is best known, before the stuffed animals and snifter of cognac that have become his trademark onstage, Palestine's first solo performances were as carillonneur of the Saint Thomas Church at 53rd Street and 5th Avenue in Manhattan. From 5:00 to 5:30, every day between 1963 and 1970, Palestine operated the 26-bell carillon, starting with the hymns he was expected to play before shifting into improvised "klanggdedangggebannggg" sessions that would form the basis for his incantatory repetitions to come. Palestine hammered the instrument's keys with his fists and pounded its pedals with his feet, effectively playing the entire building while relishing the corporeal thrill of the ceremony. Soon known as the Quasimodo of midtown NYC, his performances became a sonic mainstay of the neighborhood, attracting a diverse group of fans including Tony Conrad who, then living in Times Square, one day introduced himself inside the church. The artists became fast friends and collaborators, with Palestine recording some of Conrad's work on the carillon and contributing music to his film Coming Attractions (1970). On March 7th, 2017, Palestine climbed the spiral stairs of the Saint Thomas Church's bell tower once again. This cassette features a full recording of STTT THOMASSS ''''"'"DINGGGDONGGGDINGGGzzzzzzz ferrrr TONYYY'''''''', preceded by a brief incantation delivered one month later at a Tony Conrad memorial."	2017	€16.00
PALESTINE, CHARLEMAGNE & RHYS CHATHAM	Youuu - Mee = Weee	3 x CD	"166 minutes with Charlemagne Palestine: piano Bösendorfer, orgue Yamaha and voice Rhys Chatham: trumpet, loop pedal, electric guitar. This is the first recorded collaboration between Charlemagne Palestine and Rhys Chatham. And it's precious. After the musical meeting with Tony Conrad (SR204), and with Z'ev (SR340), this new Sub Rosa sessions creates a form of trilogy. Rhys Chatham Rhys Chatham began his musical career as a piano tuner for avant-garde pioneer La Monte Young as well as harpsichord tuner for Gustav Leonhardt, Rosalyn Tureck and Glenn Gould. He soon studied under electronic music pioneer Morton Subotnick and minimalist icon La Monte Young and was a member of Young's group, The Theater of Eternal Music, during the early seventies; Chatham also played with Tony Conrad in an early version of Conrad's group, The Dream Syndicate. In 1971, while still in his teens, Chatham became the first music director at the experimental art space The Kitchen in lower Manhattan. His early works, such as Two Gongs (1971) owed a significant debt to Young and other minimalists. His concert productions included experimenters Maryanne Amacher, Robert Ashley, Philip Glass, Meredith Monk, Pauline Oliveros, Steve Reich, and early alternative rockers such as Fred Frith, Robert Fripp, Arto Lindsay, and John Lurie. He has worked closely with visual artist/musician Robert Longo, particularly in the 1980s, and on an experimental opera called XS: The Opera Opus (1984-6) with the visual artist Joseph Nechvatal. By 1977, Chatham's music was heavily influenced by punk rock, having seen an early Ramones concert. He was particularly intrigued by and influential upon the group of artists music critics would label No Wave in 1978. Members of the New York City noise rock band Band of Susans began their careers in Chatham's ensembles; they later performed a cover of Chatham's "Guitar Trio" on their 1991 album, The Word And The Flesh. (This parallels the way that members of fellow NYC noise rockers Sonic Youth began their careers in Branca's ensembles; Thurston Moore of Sonic Youth did play with Chatham as well.) Chatham began playing trumpet in 1983, and his more recent works explore improvisatory trumpet solos; these are performed by Chatham himself, employing much of the same amplification and effects that he acquired with the guitar, over synthesized dance rhythms by the composer Martin Wheeler. Charlemagne Palestine Charlemagne Palestine wrote intense, ritualistic music in the 1970s, intended by the composer to rub against audiences' expectations of what is beautiful and meaningful in music. A composer-performer, he always performed his own works as soloist. His earliest works were compositions for carillon and electronic drones, and he is best known for his intensely performed piano works. He also performs as a vocalist. Palestine's performance style is ritualistic; he generally surrounds himself (and his piano) with stuffed animals, smokes large numbers of kretek (Indonesian clove cigarettes) and drinks cognac. Works/Selected Discography Four Manifestations on Six Elements (Barooni, 1974), Strumming Music (Shandar, 1977) was revolutionary in that it turned "strumming" into an avant-garde technique, and minimalism into highly dynamic (and noisy) music. Palestine improvised on a piano emphasizing otherworldly overtones. Schlingen-Blaengen (New World, 1998), Karenina (Durtro, 1997), Jamaica Heinekens In Brooklyn (Barooni, 2000), a symphony of drones and found sounds." [label info] www.subrosa.net	2014	€18.50
PANHUYSEN, PAUL	A Magic Square of 5 to look at	CD	Endlose Zeitlupenwellen von langsam dahinächzenden Sirr-Teppichen, als konzeptuelle Grundlage der Klangkunst-Komposition diente ein „magisches Quadrat“ und die entsprechende Mathematik der „kosmischen Harmonie“... interessantes Konzept und überzeugendes Klangergebnis von diesem eher im Ausstellungs/Installations-Betrieb arbeitenden Klangkünstler.. “OK, for all the math freaks out there, this is a must have. This CD by one of the most famous Dutch sound artists with a resume as long as both my arms is one big mathematician's wet dream. The theory of a magic square is simple enough, but not so simple that I would be able to reproduce it correctly here. What Panhuysen has done is to transpose the theory to image and sound (all the details about this can be found extensively in the booklet). Sounds boring? Well, it may sound that way, but the result is great! Especially the resulting 30 minute sound piece is a sheer beauty. Sine waves are played according to the rules of the magic square and some additional rules and the result is a piece that is hauntingly evocative, yet dry as a desert. This strange contradiction gives the work its strength and tension. The piece was originally conceived as a four channel sound installation but works very well in the CDd format. Together with the booklet and text it is a very hermetic work of art, extremely modernist, and therefore a welcome statement in times of relatively random digital number crunching. A very good work.” [MR, Vital Weekly] www.beequeen.nl/plink.html	2004	€13.00
	Long String Installations	3 x LP	After two LPs in 2014 and 2017, Edition Telemark now turns to the group of works that is probably the most well-known within the vast oeuvre of Dutch sound and visual artist Paul Panhuysen (1934–2015): his long string installations. Using this term, he referred to all of his works involving strings and sounds. They were realized all around the world between 1982 and 2012 – until 1991 mostly together with Johan Goedhart –, each installation made specifically for the site where it was displayed. Unlike other artists working with long strings around the same time, e.g. Ellen Fullman and Terry Fox, Panhuysen's strings were instruments or performative material only secondarily. Rather, his installations can be considered sculptural and sounding events in space, operating in between two lines of tradition, constructivism and situationism, that are evident also in many other parts of his oeuvre. "Over 250 long string installations were made since 1982 and have produced a better understanding of what is happening in these works. The first information about what happens around us always depends on the perception and detection of our senses and is afterwards transformed, analyzed and interpreted by the brain. It has been a happy coincidence which has drawn my attention to this opportunity to integrate image and sound in the art of long string installations. [...] In daily life we try to understand what is happening primarily by visual and auditory perception. In art these two senses are mostly kept apart. In the long string installations, eyes and ears are equally important. This improves the understanding of reality and daily life." (from Panhuysen's preface to the book "Long Strings 1982–2011") The first recordings of Panhuysen's long string installations were published in the 1980s, most famously on a 3-LP box set edited on Apollo Records in 1986. This new 3-LP set includes solely unreleased recordings made between 1982 and 2012, with one recording added posthumously in 2017. It is presented in a triple gate-fold sleeve with printed inner sleeves containing liner notes by Rolf Sachsse and Stephan Wunderlich as well as various high-resolution photos. www.edition-telemark.de	2018	€55.00
PAOLO CAMPANA	VINYLMANIA (FILM)	2 x DVD	"A trip into the grooves, Vinylmania is a 75 minute feature length documentary about an object that has never lost its soul: the vinyl record. An epic love story, the film is filled with fascinating characters and internationally recognized artists including PHILIPPE COHEN SOLAL (Gotan Project), WINSTON SMITH (Dead Kennedys, Green Day record sleeve artist), PETER SAVILLE (Joy Division, New Order record sleeve artist) and DJ KENTARO (2002 DMC World DJ Champion). Devotion, ecstasy, infatuation, agony – all feelings that the director of the film, Paolo Campana, has experienced from childhood and shares with like-minded record collectors, Djs, musicians and artists (the said vinylmaniacs) in the documentary. Set in 11 different cities worldwide, the director sets out on a global road trip to find out what role vinyl records play in the 21st century." [publishers info] "Wenn das Leben mit 33 Umdrehungen pro Minute läuft: Doku von Paolo Campana. "Als Kind wurde ich von meiner Mutter immer mit einer Schallplatte von Mozart geweckt", sagt Paolo Campana, Filmemacher und DJ aus Turin. "Seitdem läuft Vinyl durch meine Adern." Der italienische Regisseur möchte verstehen, woher seine große Leidenschaft für Musik und Schallplatten kommt. Also tauchte er für seinen Dokumentarfilm in diese Welt ein und bewegte sich sprichwörtlich undercover. In "Vinylmania" führt uns der Regisseur durch die Facetten eines Objekts, das nie seine Seele verloren hat. Er spürt dem nach, was Vinyl in einer digitalen Welt so legendär macht. An vielen Orten der Welt begegnen wir einer Gemeinde von Sammlern, DJs, Musikern und Künstlern. Die Zuschauer erkunden die Läden, in denen die Leidenschaft zum Fieber mutiert, und die Fabriken, die wieder damit begonnen haben, Millionen von Platten herzustellen. Denn: Die Vinylplatte ist zurück! ",Vinylmania‘ ist sich seines grundsätzlich nostalgischen Ansatzes bewusst, aber lässt sich dadurch nicht beirren. Das macht die Dokumentation zu einem großen Fernsehvergnügen." (Spiegel Online). Extras: Limitierte Edition inkl. Bonus-DVD: 8 Musikclips (Berlin, Prag, Paris, London, Los Angeles, San Francisco, New York, Tokio); 15 Bonus-Tracks – Interviews mit Sean Bidder (Vinyl Factory), Richie Hawtin (DJ, Produzent), Peter Saville (Designer), Guy Schraenen (Kurator), John Stanley (Schriftsteller), Dubplate & Mastering, Laser Turntable, Matt Mikas (Sammler), V. Vale (Re/Search), Klaus Florida (Bassist Dead Kennedys), Luxuria Music (Webradio), Eilon Paz (Dust & Grooves), Cesar Montesano (Sammler); Google-Map ausgewählter Plattenläden weltweit "›Vinylmania‹ ist ein wahres Vergnügen. Er spürt erfolgreich der kulturellen Explosion rund um das Wiedererwachen von Vinyl nach und behandelt darüber hinaus auch die Leidenschaft und Liebe zur Musik. Jeder Musiker und wahrer Musikfan wird den Film sehen wollen.“" Record Store Day "„Wenn man einen DJ auflegen sieht, dann ist das, wie einem Küchenchef beim Kochen zuzusehen.“" DJ Kentaro "„Vinyl ist wie Jazz. Seine Sound-Nuancen sind einzigartig.“" DJ Kobayashi "„Das ist meine Kindheit, meine ganze Geschichte…“" Philippe Cohen Solal, Gotan Project	2012	€12.00
PARMEGIANI, BERNARD	Memoire Magnetique Vol. 2	LP	Transversales is very glad to announce the release of « Mémoire Magnétique, vol.2 » spanning 1966-1993, revelatory collection of short and secret music by electronic music pioneer Bernard Parmegiani. The second volume of this compilation allows us to discover some of unreleased rarities from Bernard Parmegiani’s personal archives and unpublished recordings which were composed for the screen or the performing arts. Remastered high-resolution audio transferred directly from the original tapes. Exclusive liner notes and pictures. Musique originale composée, interprétée et enregistrée par Bernard Parmegiani. Production exécutive : Jonathan Fitoussi & Sébastien Rosat. Mastering à partir des bandes originales : Jonathan Fitoussi. Direction artistique & graphisme : Jean-Philippe Talaga. Traduction : Michèle Parent. (P) 2021 Transversales Disques ® sous licence exclusive de Claude-Anne Parmegiani A1 / "Témoignages" - 1972. Générique pour la série télévisée de Pierre Houdain. A2 / "Pop secret" - 1970. Version remixée pour concert de la musique créée avec le groupe "Third Ear Band" au Royal Festival Hall, Londres. A3 / "Voyage Conseil" - 1970. Musique pour la publicité de : "Voyage Conseil". Version non utilisée. A4 / "Lion d'or" - 1988. Générique pour l'émission radio de Georges Léon diffusée sur France Culture le 22/02/1988. A5 / "Flash sports" - 1975. Indicatif de l'émission télévisée éponyme diffusée sur Antenne 2. A6 / "Spot pub" - 1971. Spot publicitaire non identifié, non utilisé. A7 / "Journal TV 2" - 1981. Indicatif du journal télévisé d'Antenne 2. A8 / "Stade 2" - 1976-1986. Indicatif de l'émission : "Stade 2". Antenne 2, émission sport. Animation : Peter Foldès. A9 / "L'art au monde des ténèbres" - 1982. Série documentaire télévisée de Mario Ruspoli. A10 / "Sonal Roissy" - 1971-2005. Signal sonore de l'aéroport Roissy-Charles-de-Gaulle. B1 / "Bongo fuego" - 1967. Film d'animation de Peter Foldès. B2 / "Electrorythmes" - 1966. Version remixée pour concert ; film de Peter Foldès avec la chorégraphe Marpessa Dawn. B3 / "E Pericoloso sporgersi" - (élément) - 1991. Musique radiophonique ; commande de France Culture. B4 / "Une mission éphémère" - 1993. Film d'animation de Piotr Kamler. B5 / "Une honorable partie de Gô" - 1978. Série documentaire télévisée de Jean-Emile Jeannesson, "Lettres du bout du monde". B6 / "Sonal Roissy" - (inédit) - 1971. Maquette de signal sonore pour l'aéroport Roissy-Charles-de-Gaulle. Version non utilisée. https://bernardparmegiani.bandcamp.com/album/m-moire-magn-tique-vol-2-1966-1993 "Belonging to a growing body of previously unreleased work culled from the archives of Bernard Parmegiani, the always incredible Transversales Disques returns with “Mémoire Magnétique, Vol. 2”, the second instalment in their series of albums focusing on the composer’s work for film, television, and the performing arts. An inevitable revelation for even the most devoted of Parmegiani’s fans, we’re also making it available as part of a specially priced bundle with brand new represses of “Mémoire Magnétique, Vol. 1” and “Rock (Bande originale du film, 1982)” for those who missed them the first time around. So good. Over the last few years, the Paris based imprint, Transversales Disques, has set a remarkable standard for archival releases, bringing us a treasure trove of previously unreleased recordings by Pierre Henry, Archie Shepp, Pharoah Sanders, Luc Ferrari, Igor Wakhevitch, Philip Glass, Ariel Kalma, François Bayle, Ennio Morricone, and numerous others. While by no means the limit of their focus, the imprint has offered special attention to works by French pioneers of electronic music, particularly those associated with Groupe de Recherches de Musique Concrète (GRMC) and Groupe de Recherches Musicales (GRM). Central to this modus operandi is the work of Bernard Parmegiani. Back in 2017, they brought us the composer’s incredible 1982 soundtrack, Rock, created for Michel Treguero’s film of the same name, followed by the LP, Mémoire Magnétique, Vol. 1 in 2018. After three years of waiting, the label is back with the second instalment of rare sounds by Parmegiani, Mémoire Magnétique, Vol. 2, accompanied by brand new represses of Mémoire Magnétique, Vol. 1 and Rock (Bande originale du film, 1982), which have been out of print since their initial release. As a special celebration, we’re offering them individually or together as a specially priced bundle. They’re 20th Century electroacoustic music at its absolute height, hugely historically important, and not to be missed. Bernard Parmegiani’s contributions to electronic and electroacoustic practice are now regarded as among the most important in the history of 20th Century Music, but this wasn’t always the case. For much of his career, the composer lingered in the shadow of his more famous peers at Groupe de Recherches - Pierre Schaeffer, Luc Ferrari, François Bayle, etc. Some of this was a consequence of circumstance and idealism. Gifted with a deep belief in access and humor, Parmegiani believed in the profound potential of electronic and electroacoustic sound, seeking to integrate it into everyday life, particularly through forms of mass distribution activated by radio, film, and television. A great deal of his output was created for these contexts - remaining unreleased on physical formats - while he supported himself as a sound engineer and as the head of the Music/Image division of French television. It is into this rarely heard body of recordings which Transversales Disques takes us once again. Like the first instalment, Mémoire Magnétique, Vol. 2 culls its material form the composer’s personal archives and unpublished recordings of material created between 1966 and 1993, focusing specifically on his output for the screen and the performing arts. Standing as a largely unacknowledged counterpoint to more famous works like De Natura Sonorum, La Roue Ferris, Dedans Dehors, Chants Magnétiques, and Chronos - created during same period covered by the collection - these works unveil a lesser-known vision of Parmegiani, one that embedded himself in the subconscious landscape of the French public, with sounds that were often heard without acknowledging their genius or source. Comprising 16 revelatory tracks, of relatively short lengths - from 13 seconds to just over 8 minutes - Mémoire Magnétique, Vol. 2 covers a brilliant range of material, from sci-fi tinged arpeggiating synths, brooding minimalist expanses, semi psychedelic meanderings away with free-flowing texture, pastoral meditations, playful, percussive musique concrète, pieces that flirt on the edges of kosmische and Berlin school electronics, and so much more. Encountering the composer in the throes of his deepest passion - working alongside the visual realm - just when you’d thought you’d heard it all, Transversales Disques digs up more gold from the archives of Bernard Parmegiani, expanding our vision of the astounding talent and range of one of the most important sonic artists of the 20th Century. These previously unreleased rarities have been remastered from the original tapes in high-resolution audio, and come complete with exclusive liner notes and pictures. As engrossing as records come, and an absolute blast to listen to. Not to be missed! Across 17 despite works, Mémoire Magnétique, Vol. 1 spans 24 years of Parmegiani’s output of music designed to integrate with the screen, drawing on a framework the composer developed for research and mutual exchange between sound and image. It should come as no surprise, given the overwhelming creative talent which Parmegiani possessed, that these efforts more than stand on their own when separated from the images with which they were designed to speak. The LP is an overwhelmingly powerful body of revelatory sound. Not unlike his soundtrack for Rock, Mémoire Magnétique, Vol. 1 pushes the boundaries of what the work emerging from Groupe de Recherches is often perceived to have been, if not the very notions of what qualifies as avant-garde. Imbued with Parmegiani’s overwhelming humor and playfulness, it offers nods to a countless range of musical idioms and fields of practice - often painting a dark, dystopian technological, rhythmic landscape with aural touchstones ranging from techno, Kraftwerk, and John Carpenter soundtracks, with a peppering of the clown show, reminding us that Parmegiani began his career as a mime. There’s no question that Transversales Disques is taking the high road, bringing us into wild, wonderful, and often overlooked bodies of organized sound which rewrite almost every standard narrative of history. These works are some of a Bernard Parmegiani which all too few heard, belonging to a way of working which captures the idealism closest to his heart. Absolutely brilliant creatively - a challenging field of imagination and an endlessly thrilling listen. Transferred directly from the original tapes with exclusive liner notes, if you missed the first pressing, don’t sleep. This is an absolute must for any fan of Parmegiani, GRM, soundtracks, and electronic music at large." [Soundohm] https://bernardparmegiani.bandcamp.com/album/m-moire-magn-tique-vol-2-1966-1993	2021	€26.50
PBK & TELEPHERIQUE	Noise-Ambient Connection	CD	"Noise music exists for many years, but there are still some individuals who are assiduously following their own approach, avoiding any external influence, creating something new and inspiring to get rid of any standards, giving us the idea of unique sounding. Phillip B. Klingler (PBK) is the one such musician. In his 20 years of activity, he walked against the number of noisescapes, painting them over with some secret traces of beauty and beyond. He released some solo works but also collaborations with Dirk Serries (vidnaObmana), Slavek Kwi (Artificial Memory Trace), Asmus Tietchens, Jeph Jerman (Hands To) and even Artemy Artemiev (the son of famous Russian ANS-synth explorer). PBK proposes premium quality music with manifold edges: some hypnotic ambient pieces, some crazy noise collages, but mostly just unclassifiable abstract sound-sculptures. His early works were released on tapes by his own PBK Recordings label and sold out for many years, in the early 90s N D Records published his first couple of CDs: endless labyrinths of dissonances, amorphous soundscapes unfolding from the complex schemes of machine improvisation and stochastic processes. Telepherique is the seminal German project existing since the late 80s and exploring the grey area of the electronic underground. The main person behind it is Klaus Jochim who also was responsible for now defunct tape label Drahtfunk Productions. Besides his own production under various monikers like Technostria and Das Konzentrat, he released some great collaboration tape albums with artists like Brume, Kapotte Muziek, S.Core, Tesendalo, De Fabriek etc. Telepherique uses a lot of synthetic sound sources and sequences, creating unsettling atmosphere from the structured electronic patterns ranging from intense rhythmic work to creepy ambient out-of-body soundscapes. They got initial support from labels like Ant-Zen and Noise Museum, later released some albums through Old Europa Cafe, S.S.S.M., Afe Records and Waystyx. The name Telepherique means "funicular railway" in French, but indirectly also the intention gaining a view from a higher level. This particular album is the first ever collaboration between PBK and Telepherique, it represents yet another breakthrough in the search for a music that is comprehensively exploring 21st century ambient music." [label notes] www.monochromevision.ru/	2008	€13.00
PBK & ZANSTONES	Mantis Fog Desert	CD	"The new collaboration of PBK and Zan Hoffman (Zanstones) is the experiment in perfect interaction between noise music, ambient approach and electronic sound, with organic and sometimes even psychedelic output. For both artists, being active in the underground music scene for many years, this album is very distinct and peculiar showcase of their endless creative potential. Release date is 27th December 2011. Limited edition of 500 copies in jewelcase." [label info] www.monochromevision.ru	2011	€12.00
PER ASPERA	Nil Desperandum	CD	Drittes Album dieses uns bisher noch unbekannten polnischen dark ambient-Projekts, das auf NIL DESPERANDUM eine ureigenste Vision von dunkler elektronischer Ambience entwirft, wo sehr minimal & bedächtig instrumentierte Synth-Parts of ebenso spärlich eingesetzte Sakral-Gesänge stoßen, es später aber Bezüge zu 9/11 gibt und die Klänge rauher & experimenteller werden. Ingesamt wirkt das alles sehr ausgereift & überlegt komponiert, 7 Stücke die aufeinander aufbauen. Sehr ambitioniert und fesselnd ! "The third and the most complete release by one of the most talented ambient artists hailing from Poland these days. Unifying vast array of elements, Per Aspera once again achieves remarkably introvert but vibrant style. Eerie industrial atmosphere seamlessly blends with serene harmonies of almost orchestral form. Cinematic, monstrous drone formations morph into pulsating abyss of dissonant disturbances and uncompromised sonic experiments, overlaid by subtle beauty of human voice and minimalist acoustic instrumentation. All those skillful, multiformal explorations establish Nil desperandum one of those albums of complex yet stable musical concept—reflecting the incoherencies of human nature and its immanent affection to chaos and order merged together. Per Aspera tends to render tragically compound heritage of the mankind, being constantly shaped by cultural, ethnic and religious or ideologic discrepancies. Definitely not your average dark–ambient buzz, this album stands out of the dull cliche. The sound may appeal to the admirers of T. Köner, Parca Pace, Nocturnal Emissions or Neubautens to name a few but still, expect no pattern follower. Complemented with special A5–sized glossy digipak designed by Ibsen studio, this CD is limited to 500 copies only." [label info] ".... Whilst it’s ridiculously difficult to be overly innovative within the dark ambient genres, one of the skills a composer must demonstrate is the ability to keep the listener engaged whilst producing a sound that doesn’t show immediate comparisons to one or another artist from within this genre. Thankfully Per Aspera does a fantastic job at both and has created a set of recordings that smack of originality whilst containing a myriad of well executed compositions, rich textural sounds and a wonderfully imaginative evolving plethora of atmospheres that flow from the album. As a dark ambient release this is as good as it gets and sets an impressively high standard immediately, with a faultless album being produced from start to finish. For those who relish in the shadowy undercurrent of rich dark ambient soundscapes ‘Nil Desperadum’ delivers a fabulous journey into this style of music and is welcomed addition to the genre itself and as such is a near prefect introduction for a relatively unknown artist and a label which promises great things, if this is anything to go by." [Judas Kiss] www.newnihilism.com	2008	€13.00
PHARMAKON	Abandon	LP	Margaret Chardiet was born and raised in New York City. As a founding member of the Red Light District collective in Far Rockaway, NY she has been a figurehead in the underground experimental scene since the age of seventeen. She points out that the environment there amongst so many other experimental artists (amongst them Yellow Tears & Haflings) inspired her to keep making increasingly challenging work. She describes her drive to make noise music as something akin to an exorcism where she is able to express, her “deep-seated need/drive/urge/possession to reach other people and make them FEEL something [specifically] in uncomfortable/confrontational ways.” Engineered by Sean Ragon of Cult of Youth at his self-built recording studio Heaven Street, Abandon is Pharmakon’s first proper studio album and also her first widely distributed release. https://pharmakon.bandcamp.com/album/abandon	2022	€24.00
PHILLIPS, DAVE	Proceed with Inquiry	DVD	"The contained DVD comprises video works, live performances and collaborations by radical Swiss sound artist DAVE PHILLIPS, sonically active since 1987, part of the notorious SCHIMPFLUCH GRUPPE (with Rudolf Eb.er, Joke Lanz) since 1991, having left his signature in numerous bands, projects and collaborations. DAVE PHILLIPS uses sound as a means to activate primordial emotions otherwise hidden underneath the debris of civilization. His concept is called “Humanimalism” accordingly, meaning a state of mind that overcomes religious, material und supremacist charges of evolution, acknowledges itself as part of a whole and has grown into an empathic, conscious and connected creature allowing emotion and instinct their equal part in decision-making. This collection presents his multifaceted work in composition, performance, psycho-acoustics, sonic rituals, voice, video, field recordings, objects and electronics, etc. in a yet unknown complexity and coherence of motion pictures. His performance work is revealed in all its undiluted brutality, the urgency and topicality of his work and his message is clearly evident, captivating and intensely documented. Along with DAVE PHILLIPS’ video works created between 2014 and 2016, the DVD is a document of unique solo live actions and the notorious Paris 1996 performance of SCHIMPFLUCH-GRUPPE, as well as recent collaborations with G.X. JUPITTER LARSEN, and video artists PAKISE AKIN, JAN VAN HASSELT and REMOTE-CONTROL RECTUM, who in turn created their visual interpretations of PHILLIPS' audio works. It all amounts to a mind-expanding experience, playing with altered perception and throwing back the viewer onto his own vision." [label info] "...Merely approaching, let alone summarising, the work of Dave Phillips is near impossible. Active for 25-odd years in multiple artistic fields (including appearances on almost 200 releases), his contribution here to the DVD component of the release is characteristically challenging. The work is delivered in three parts: video works, live performances, and collaborations. The video works are varied with clear effort put into editing and sound composition. They’re often jarring and disorienting, always intimate, and personal. Some are abstract and intangible while others are precise and brutally polemic. There is slap-to-the-face activism in spades, including a sobering piece on humankind’s exploitation of the Earth and its animals (‘How sad, that nature speaks and we don’t listen.‘). Phillips’s use of footage depicting animal vivisection, cruelty, and industrial slaughter is about as subtle as a sledgehammer, as is the screaming text (‘Education is a progressive discovery of our ignorance!’). But these pieces are clearly meant to shock and are more about our complacency and willingness to let them happen than about the actions themselves. The collaborative works are interesting enough, though they are not as strong as Phillips’s solo contributions. He seems to supply audio primarily over his collaborators’ mostly impressionistic visuals. Many could display rather comfortably on a screen in a respectable art gallery. The live performances are highly entertaining and showcase a theatrical grotesquerie typical of the Schimpfluch-Gruppe of which Phillips is a core member. Indeed, the best of the live recordings here has him on stage with Rudolf Eb.er for a Schimpfluch-Gruppe action in Paris. Contact mikes in mouth, their faces slam repeatedly and unceremoniously into bowls of spaghetti. It’s bleakly humorous and very uncomfortable.... " [Heathen Harvest] silkentofu.bigcartel.com/product/dave-phillips-proceed-with-inquiry-dvd	2017	€13.00
PHRAGMENTS	Earth shall not cover their Blood	CD	"You’ve seen it before. Certain bands or artists delivering their finest work with their first recording. Then, in futile attempts to capture some of the same magic, becoming formulaic and stale, rehashing ideas and never really achieving the same caliber of work. Others, expanding on the elements of their prior releases, and through a natural maturation process, get stronger with each release. That would certainly be the case with Phragments. With their third full length studio CD, this Slovakian duo have made remarkable strides not only in quality but in scope. Equipped with an enriched sonic palate, Earth Shall Not Cover Their Blood mixes forceful brass and dark orchestral strings with rolls of powerful tribal percussion, somber wind instrumentation, ominous atmospheres, industrial clangor, and a strong and commanding vocal presence, particularly on tracks like “Over Deadlands” and “The Kin of Cain”. Cohesive, complete, and epic, this is a release that will open some eyes to new found authority of Phragments. Yours to discover. In 6 panel digipak." [label info]	2008	€13.00
PHURPA	Trowo Phurnag Ceremony	CD	This voyage began in the middle of the 1990's in Moscow, when a group of artists and musicians led by Alexei Tegin and based at the legendary Fabrique of Cardinal Art commenced their studies of traditional ritual music, drifting away from the field of contemporary electroacoustic and industrial music with the intent to delve deeper into the ancient musical cultures of the ancient Egypt, Iran and Tibet. The original 2003 lineup of the project that emerged as a result was ubbed Phurpa (one of the five tutelary deities of the Father Tantra in Bon tradition), and all the members have carried on with their research in the field of Bon and Buddhist liturgies up to the present day. Before Buddhism reached Tibet, local people had practiced involved shamanic rites derived from various ancestral cults. Later on, circa the VI-IX century AD, a conflict between the local tradition, namely, the pre-Buddhist religion of Bon (which originates from Central Asia) and Tantric Buddhism (hailing from the North of India) gave birth to a unique cultural phenomenon known as Tibetan Buddhism, which combines an extensive metaphysical corpus and an advanced philosophical system with pristine ceremonial practices that reach down through many centuries. In the X-XI century AD the monastic ensemble came into being. It has got a lot in common with the Chinese court ensembles of the Tang dynasty; nevertheless, the Tibetan ceremonial ensemble has preserved its authenticity and kept a large number of primordial elements stemming from the ancient Tibeto-Burmanese music intact to this day. A typical ensemble usually includes a pair of nga drums, several rolmo cymbals and a pair of gyaling oboes, as well as telescopic dunchen horns, dunkar shells and short wandun horns. One of the unique features of the Tibetan monastic choir is a specific kind of overtone chanting, called "rgyud-skad", or the Tantric voice, which is based on the principle of the singer's transmogrification during the so-called "chanting meditation". Recorded in 2005 at Melodiya studio, mixed and mastered in 2007-2008 at Magihead studio photography by Cheslav Merk, Ulrika Merk and Anna Lukyanova sketis-music.com/catalog/skmr-060-phurpa-trowo-phurnag-ceremony	2010	€13.00
PICK-UP	Mouthless	LP	"... So hat FdW neuerdings mit Martin Luiten, der vorher mit Girlfriends aktiv war, einen neuen Partner für ein weiteres Projekt namens PICK-UP, von dem nun gleich zwei Tonträger Kunde geben. Das Debut Mouthless (imprec 123, LP) erschien bei Important Records in Newburyport, MA, einem Label, das mit seinem Faible für Psychedelic, Noise, Avantness und Orginalität Daniel Johnston, Jad Fair, Kimya Dawson, Diane Cluck, Merzbow, Acid Mothers Temple, Fe-Mail, Larsen, Angels Of Light, Kluster, Pauline Oliveros, Grails und Conrad Schnitzler zu Bettgenossen machte und auch schon einiges von Beequeen herausgebracht hat. Luiten spielt Gitarre & Electronics, so dass FdW, der diese Klänge, ein Fahey‘eskes Twanging und Picking, an seinen Laptop verfüttert, um gitarristische Loops und elektronische Drones mit zusätzlicher Modulation und Ornamentierung aufzumischen, quasi an sein Gitarrenprojekt Shifts anknüpft. Bei ‚Klemmend‘ vibrieren Stimmengewirr und Beifallklatschen als klickernder Rauschvorhang hinter Luitens countrybluesigem Strumming." [Bad Alchemy] "Pick-up is a new duo of Frans de Waard (Beequeen) on laptop and Martin Luiten (Girlfriends, Uw Hypotheek Advies) on guitar. Limited edition of 300. Hand made cover artwork. This is the 9th release in our Arts & Crafts series which pairs music with handmade artwork by the artists responsible for the recordings." [label info] "Hot on the heels of their first album comes this bright orange-colored vinyl follow up. 'Mouthless' however was recorded prior to their first release, so this is really - with some delay - Pick Up's debut. The concept of Pick Up is simple; the music is based upon the (resonator) guitar playing by Martin Luijten, which is reworked via Frans de Waard's laptop. At times field recordings are added. 'Mouthless' contains 4 long tracks. The title tracks opens the proceedings with gentle John Fahey-ish picking. Luiten uses a resonator guitar (also known as a Dobro) on this album. The body of this guitar contains one or more metal cones, instead of wood, which makes the sound louder and gives the guitar a distinctive blues-grass sound. The style of Luiten's fingerpicking is friendly and traditional, using the occasional slide. After a while looping and gentle feedback sets in, which makes 'Mouthless' a wonderful, restrained track. In contrast, the second track 'Klemmend' is far more chaotic with dominant field recordings of what sounds like a kindergarten. In the background the guitar is fighting to be heard. Side two opens with 'Magnifying Glasses', which features reflective guitar playing by Luiten only, showing his versatile skills. Very nice. If you like this sort of guitar picking I can highly recommend any of the early Takoma LP's by John Fahey. On the second track, 'Tracing', the electronics set in again with looping. A mirror image of side two, here too the sound is less structured. As a whole, this is a very fine album (with an original combination of electronics and resonator guitar), even though you could argue that it would have been an idea to put the two more quiet tracks on one side and the more chaotic tracks on the other. But that is just a thought. Packed in two heavy cardboard sheets (like the previous Pick Up album) with a hand-colored paste-on sheet, this looks very sturdy indeed. And, if you're lucky, you will find the album in luminous orange vinyl (the first 100 of a total of 300 copies) inside." [FK, Vital Weekly]	2009	€15.00
PILIA, STEFANO	In Girum Imus Nocte et Consumimor Igni	LP	https://dieschachtelrecords.bandcamp.com/album/decay-music-n-2-in-girum-imus-nocte-et-consumimur-igni Milan based Die Schachtel presents In Girum Imus Nocte Et Consumimur Igni (We turn round in the night and, behold, we are consumed by Fire) - a work for solo guitar by the Italian composer Stefano Pilia, the second release to appear on a new series from the imprint - Decay Music, highlighting inspired contemporary experimental efforts in the ambient, ethereal, and emotively abstract. Born in Genoa and based in Bologna, Pilia is a guitar player and electro-acoustic composer concerned with the sculptural properties of sound, offering particular focus to its relationship to space, memory, and the suspension of time - the conceptual undercurrent of In Girum Imus Nocte Et Consumimur Igni. Comprised of corresponding compositional triptychs on each of its two sides - the final act of both featuring contributions from experimental music heavyweights, Rodrigo D’Erasmo on violin and David Grubbs on piano, the album builds vast, inhabitable expanses of ambience from long tones and shattered cuts and collisions, punctuated by clusters, sweeps, and careful interventions of texture and note. In Girum Imus Nocte Et Consumimur Igni – as this eerie palindrome and endecasillabo (a syntactic form in classical Italian verse) from Virgil suggests – moves through a path of alchemical symbolic narratives and poetic abstraction humbly reminiscent and allegorically inspired by Dante’s Divine Comedy and by the Nekyia (‘evocation of the dead’) parts found in Book IX of Homer’s Odyssey. Based on symmetrical harmonic, melodic and narrative properties and filled with intangible narrative, haunting abstraction, fleeting visions of eerie space, and slow motion melody, Girum Imus Nocte Et Consumimur Igni pushes electroacoustic music toward symphonic dimensions - dramatic arcs with echoes of high Minimalism, historic ambient music, and the radicalism indeterminate forms. Through a wise, peculiar and abstracted use of guitar instrumentation, the sound surface of the compositions reaches deeper electroacoustic-symphonic dimensions, echoing minimalist works, ambient music and indeterminate contemporary forms. The perfectly sounding Decay Music records have been perfectly cut and pressed using a surprising thick grey hi-quality vinyl featuring a "decay-like" marbling effect. The overall design is by the usual suspect Bruno Stucchi/dinamomilano.com, who created a "half alchemic-half decadent" custom typeface for the series. The covers - featuring mysterious and obscure drawings by obscure artists – are printed in silver on heavy matt black paper stock, and hosted in a transparent outer sleeve, on which the typography is silkscreened in white on clear acetate. Issued on vinyl in a one-time edition of 250 copies and pressed to 180g marble vinyl, housed in pro-printed inner sleeve and jacket, itself contained in a silkscreened pvc sleeve	2019	€25.00
PIMMON	Smudge another Yesterday	CD	"The Preservation label presents Smudge Another Yesterday from Sydney's Pimmon. Pimmon is the alias for electronic composer Paul Gough. In the last decade, Pimmon has forged an international reputation for creating dense, challenging and engaging electronic music. This release picks up and goes further from the point where the acclaimed Secret Sleeping Birds left off. Smudge Another Yesterday is an exploration of the song behind the noise; the secret whispers hidden in the static. Within these vast and spacious works are endless fragments shaped and distended into magnetic states of subtle movement and pulse. From beautiful, foreboding pieces sung by hidden choirs to crackling, lava-flow like ambience, the mood swings of Smudge Another Yesterday are steeped in bristling commotion and stirring intimacy. It is a startling return from an individual and distinct artist. Smudge Another Yesterday was mastered by renown Italian composer Giuseppe Ielasi. Pimmon has previously collaborated with other celebrated artists of his field -- including Fennesz, Oren Ambarchi, Kid606 and Keith Rowe -- and has recorded for various labels around the world including Tigerbeat6 and Fat Cat." [label info] www.preservation.com.au	2009	€15.00
PINTO, JOAO CASTRO	Suntria - Imaginal Sonotopes	CD	"Suntria is a soundscape composition orchestrated, fundamentally, through the use of audio fragments captured from distinct locations of Sintra’s forest, near Lisbon, Portugal. Since remote ages, Sintra’s mountains (in Portuguese, Serra de Sintra) are known as locations of worship and devotion. It is reputed that the Celts, Visigoths, Moorish and Romans were among the people who inhabited and praised these oneiric landscapes before the Lusitanos (the later Portuguese). Throughout the years, Sintra had different toponyms, it is said that the Celts referred to it as Cynthia (meaning the devotion of the moon). It is also given that some Greek and Latin scholars state that Sintra was also denominated as Mons Sacer (Sacred Mount). Ptolemy and the Romans called it Mons Lunae (Mount of the Moon) and, during the Moorish rule of the land, Sintra was denominated as Zintira, Chinra, Xintra, Sentra, until, finally, it was, before its actual designation, named Xentra. From the etymological study of the term there is a curious, but controversial, medieval designation from each Sintra is thought of being derived – Suntria. This possibility presents itself as problematic. The medieval origin of Suntria is supposed to have been derived from the Indo-European (meaning Sun or Luminous Astro). This denomination is controversial because the etymology of the word “Sun”, considering the existing Indo-European branches, puts aside any connection between the term “Suntria” and the significance of the word Sun (except when considering the Gothic [extinct Germanic language] term “Sunno”). Suntria is the title of this composition because, and foremost, the conceptual purpose of the album is not to mimic the sonic landscapes of Sintra’s physical actual locations but to creatively interpret these spaces. Suntria is a hypothetical toponym of a determined physical location, as this composition is an interpretation and recreation of field recordings captured in Sintra’s soundscape. The mystical ambience patent in Sintra’s forest is a national symbol depicted in literature, cinema and architecture by Portuguese and foreigner artists as, for example, Lord Byron, which lived there for a brief period. Sintra’s fauna and flora is as rich as its environment, which configurates a micro-climate totally distinct from the one which predominates in Lisbon, from where it distances not too much. The basilar audio samples that integrate this composition were recorded in the ponds, cascades, forests and beaches of the Sintra-Cascais natural park. Additional sounds were recorded in other (natural / urban) locations of the country (check the cd sleeve for more info). Suntria’s subtitle is imaginal sonotopes, and it is so because what is at stake in the piece is recreating combinations from elements of the soundscape, i.e., of diverse geophonies, biophonies and anthropophonies. According to soundscape ecology, a sonotope is, precisely, the spatial overlapping units or patterns advenient from these contingent conglomerations, which in their turn result on the blending of sonic elements. Suntria is a piece that presents plausible soundscapes through the creative electroacoustic exploration and concrescence of samples that even though, in many cases, belong to the same ontic family (for example: geophony – water in streams, ponds and beaches) were originated and recorded, in terms of spatio-temporal coherence, in distinct locations. One of the main purposes of the album is, therefore, to question the sense of identity and place, concerning to the academic established postulates of soundscape composition. Sounding natural, i.e., as we phenomenologically relate to a sonotope, is one of the main goals of this composition: to make plausible the implausible. One can expect to listen a diverse spectrum of sonic approaches, in between found sounds and abstracted composition, making use of techniques that range from transparent edit, equalization and juxtaposition (phonography) to concrete / acousmatic music procedures (manipulations in the morphological spectrum). In terms of dynamics, the composition reveals subtle quasi-silent moments as saturated and loud events. The same logic prevails in terms of spectral diversity, for Suntria outputs careful sculpting of low, mid and high frequencies, towards a whimsical sound voyage. Finally, all the audio samples were registered through the implementation of various recording techniques: stereo (XY, ORTF [w. matched pair] and MS) and monaural (shotgun, hydrophone and contact mics). Concerning the audio recording devices, various gear was used, from the enhanced mono (low quality) mic of the iPhone and the prosumer mid-level entry recorders (as the Tascam DR-100 MKII / DR-70D), to the professional standard industry level recorders (as Sound Devices 702). Suntria reaches for an aural acuity that invites the listener to perscrutate meaning, purpose/intentionality and ultimately to question the sense of hearing and being in the world." (João Castro Pinto, 10 May 2017)	2017	€14.00
PLANNING FOR BURIAL	Desideratum	LP	"New Jersey gloom band Planning For Burial will release its first full-length in almost four years this May on SF-based dark music label The Flenser. Titled Desideratum, this album is the band’s first full-length since 2010′s cult hit Leaving (Enemies List). Simultaneously straddling the line between being completely nostalgic and futurist sounding, Planning For Burial is the product of a single wunderkind taking healthy obsessions with certain influences and filtering them through a droning, gloomy spyglass that evokes only the most concrete blues (the emotion not the music) this side of the gray waters of the Atlantic. While Planning For Burial gets lumped in with the whole wave of “bedroom recording artists” (which is where the project toiled for years until Leaving finally was released), the mastermind behind the project sets himself apart from his peers due in no small part to his background in sound. Planning For Burial’s brand of dark shoegaze/gloomgaze is hard to categorize, but it’s sound contains elements of slowcore, shoegaze, doom, drone, 90′s alt rock, 80′s goth, and black metal, while never being defined by any one of those genres. Over the course of the last four years, Planning for Burial has been sporadically popping up in live venues (sharing the stage with a wide breadth of musical compatriots from Chelsea Wolfe to Deafheaven while seeming out of place at none) along the east and west coasts and releasing a slew of EPs and splits on various labels. Now, as Planning for Burial gears up to release Desideratum, the band will also perform a series of live shows – tour dates can be found below. PFB commented, Expected to ship on or before May 13th. LP comes in a heavy jacket with a heavy inner sleeve. The CD version comes in a case-wrapped jacket with an inner sleeve. CD/LP package can be ordered below. The colored vinyl edition is Half & Half Oxblood/Swamp Green and is limited to 200 copies. Inspired by a gloomy Jamison bottle." [label info] theflenser.com	2014	€21.50
PLEQ	Good Night	maxi-CD	"CD single of one of the most promising artists in the electronica/glitch scene. The title track comes from the forthcoming album "Ballet Mechanic" (scheduled later this fall on Basses Frequences) and 3 exclusive remixes by electronica stars Offthesky and Pjusk and french Philippe Lamy. The most interesting part is that this CD is not just a collection of various remixes, because once put together, you have a real progression in the ambience: each track is a subtle deconstruction of the original track, degrading the feeling step by step, like the deliquescence of the sweet pleasure of a good night sleep when you wake up slowly." [label info] www.bassesfrequences.org	2010	€6.00
PLEQ & PHILIPPE LAMY	Gravitation	mCDR	"these two artists have already been on taâlem before: pleq for hiscollaborative disc with japanese artist hiroki sasajima ("witch-hunt", may 2012, alm 86) and philippe lamy for his solo disc ("entre deux", june 2013, alm 91). they have already worked together several times since 2011. here they propose us an excellent track with a rather raw and industrial feeling, yet full of strange textures..." [label info] www.taalem.com "...I started out with Pleq and Philippe Lamy's work 'Gravitation'. They both had works before on Taalem, Pleq with his collaborative disc with Hiroki Sasajima (see Vital Weekly 839) and Lamy's 'Entre Deux' (Vital Weekly 890). They work together since 2011, and their twenty-plus minute piece is very nice, and hardly be part of the world of spacious drones, which we more commonly find on Taalem. These two inhabit a world of computer processing along the lines of acousmatic music, musique concrete, feeding field recordings to the zeroes and ones of the computer and cook up a nice, vibrant piece of music. In a constant drift this moves about and may have ambient qualities - especially in the constant flow that is part of this and perhaps in the treated field recordings, it's also very much a work of musique concrete. Spacious collage music, very energetic and one of the best in the Taalem catalogue." [FdW/Vital Weekly]	2014	€5.00
PLEQ + HIROKI SASAJIMA	Witch-Hunt	mCDR	" "witch-hunt" is a wonderful collaborative track between pleq, the polish busy bee (past productions were released by several international labels like basses frequences, u-cover, dataobscura, somehow, audio gourmet, rural colours or ephre imprint) known for his ambient/glitch productions and the japanese field recordist hiroki sasajima we already know on taâlem thanks to the nature of dislocation 3" we released a few years ago (see here). his previous release were out on mystery sea, unfathomless, impulsive habitat or semper florens. this 24min long track is a beautiful blend of the two artists' skills, perfect mix of drones, field recordings and a few glitches..." [label info] www.taalem.com	2012	€5.00
PLOTKIN, JAMES & PAAL NILSSEN-LOVE	Death Rattle	CD	" “Death Rattle” is the noise of two forces of nature in collision. Like a pair of clashing typhoons, Philadelphia based avant guitarist James Plotkin and Norwegian free jazz drummer Paal Nilssen-Love generate chaos, disturbance and a terrifying beauty in their first ever collaborative recording. Free jazz and metal-edged rock never chimed so exhilaratingly together before. ‘Paal’s precision and constant invention/reinvention is mind-blowing, only matched by its intensity,’ James enthuses. ‘There’s a very fluid feel to what he’s doing despite the ferocity. Instead of trying to match the chaos, I opted to build a more solid foundation of repetition and melody for him to launch from. I really appreciated the role reversal of drummer and guitarist!’ James Plotkin’s distinctively extreme, aggressive guitar sound has been a constant presence in underground music since the late 1980s, when he founded the metal/industrial band OLD. As a solo artist and as a member of outfits such as Scorn, Khanate, Phantomsmasher, Khlyst and most recently Jodis, he has plotted a nomadic trail through new metal, dark ambient, industrial, noise, grindcore and drone rock. Sought out by Michael Gira, John Zorn, Ikue Mori, Franz Treichler, Francisco López and many more, he has also remixed a wide range of artists from KK Null and Sunn O))) to Pelican, Earth, Nadja and Neu!. ‘I've wanted to work with Paal for the better part of a decade,’ comments James. ‘Stephen O'Malley had played one of Scorch Trio’s discs in the van during a Khanate tour and I could hardly believe it was only one drummer at work.’ Paal Nilssen-Love is one of the most intense drummers working on the planet right now. He grew up in Stavanger, west Norway, where his parents ran the city’s thriving jazz club. In theory he’s now based in Oslo, but there’s a huge global demand for his percussive threshing machine. He’s often travelling on a relentless round of musical projects and festival appearances – notably with Mats Gustafsson in The Thing, his Chicago trio with Ken Vandermark and Ab Baars, the Hairy Bones group with Peter Brötzmann and Toshinori Kondo, a trio with Massimo Pupillo and noise artist Lasse Marhaug, plus duos with Peter Brötzmann, Terrie Ex, John Butcher and others." [label info] www.runegrammofon.com	2013	€15.00
	Death Rattle	LP & CD	" “Death Rattle” is the noise of two forces of nature in collision. Like a pair of clashing typhoons, Philadelphia based avant guitarist James Plotkin and Norwegian free jazz drummer Paal Nilssen-Love generate chaos, disturbance and a terrifying beauty in their first ever collaborative recording. Free jazz and metal-edged rock never chimed so exhilaratingly together before. ‘Paal’s precision and constant invention/reinvention is mind-blowing, only matched by its intensity,’ James enthuses. ‘There’s a very fluid feel to what he’s doing despite the ferocity. Instead of trying to match the chaos, I opted to build a more solid foundation of repetition and melody for him to launch from. I really appreciated the role reversal of drummer and guitarist!’ James Plotkin’s distinctively extreme, aggressive guitar sound has been a constant presence in underground music since the late 1980s, when he founded the metal/industrial band OLD. As a solo artist and as a member of outfits such as Scorn, Khanate, Phantomsmasher, Khlyst and most recently Jodis, he has plotted a nomadic trail through new metal, dark ambient, industrial, noise, grindcore and drone rock. Sought out by Michael Gira, John Zorn, Ikue Mori, Franz Treichler, Francisco López and many more, he has also remixed a wide range of artists from KK Null and Sunn O))) to Pelican, Earth, Nadja and Neu!. ‘I've wanted to work with Paal for the better part of a decade,’ comments James. ‘Stephen O'Malley had played one of Scorch Trio’s discs in the van during a Khanate tour and I could hardly believe it was only one drummer at work.’ Paal Nilssen-Love is one of the most intense drummers working on the planet right now. He grew up in Stavanger, west Norway, where his parents ran the city’s thriving jazz club. In theory he’s now based in Oslo, but there’s a huge global demand for his percussive threshing machine. He’s often travelling on a relentless round of musical projects and festival appearances – notably with Mats Gustafsson in The Thing, his Chicago trio with Ken Vandermark and Ab Baars, the Hairy Bones group with Peter Brötzmann and Toshinori Kondo, a trio with Massimo Pupillo and noise artist Lasse Marhaug, plus duos with Peter Brötzmann, Terrie Ex, John Butcher and others." [label info] www.runegrammofon.com	2013	€22.50
POTTER, COLIN	We Couldn't Agree on a Total	CD	"This is the 100th release by ICR. The first was the compilation LP ‘We Couldn’t Agree on a Title’ in 1981. Back in those days, I never imagined – no, wait – that’s so long ago, I really can’t remember what I imagined. I know that I did think Integrated Circuit Records was a good name for a label that was ‘integrated’ (?!) and vaguely electronic. Which is why it’s now called ICR, much less of a mouthful. But it is slightly surprising to have made it to 100 releases, although I doubt we’ll make it to 200, which partly explains the title of this CD. 3 tracks totalling over 74 minutes, 2 were recorded live at London's Cafe Oto. The third is a studio mix of the music I played live a number of times, but never managed to get a decent recording. As we have made it to 100, this seems an appropriate time to thank everyone who’s been involved in helping me keep this leaky boat afloat for over 40 years - the artists who have appeared on releases and the people who have assisted in the running of things. I hope you know how much I appreciate this. In particular I would like to thank Jonathan Coleclough, who has been designing wonderful covers (including this one) and graphics for ICR for most of its life and has been a constant studio and live partner for many years. And finally I would like to thank the people who have bought the records, cassettes, 8–track cartridges, CDs and downloads and showed up to see me make a fool of myself in public over the years. Without you it would have been somewhat pointless." https://icrdistribution.bandcamp.com/album/we-couldnt-agree-on-a-total "In 1981, Colin Potter released a compilation LP, 'We Couldn’t Agree on a Title', the inaugural release on Integrated Circuit Records. 'We Couldn't Agree On A Total' is the 100th release, but it's not a compilation. To celebrate this milestone, Potter selected two live recordings from his concerts at Cafe Oto in 2018 and 2016 and one studio piece of something he played live a couple of times but never managed to get a great recording of. The cover shows Potter and a plethora of instruments; I am sure this photo is some construction of various images, but it's an impressive display of gear. Next to playing as a musician, solo and with Nurse With Wound, Potter runs the ICR studio, so I am sure he knows all about gear, cobbling these together and making them sound simultaneously, with Captain Potter at the controls. The mixing board is the big audio canvas to paint sounds, add effects, change frequencies, and do whatever people do behind big mixing consoles to produce great music. In the April 2018 concert, Potter goes for a take on cosmic music, with arpeggios and rhythm in slow motion, and once that train leaves the station, it majestically rolls about. It has that cosmic Krautrock idea, and it works very well. In 2016, he did something similar, but the arpeggios come in later here, and it takes some time to get there. Potter needs some time to get his stuff brewing from below the surface, but it erupts like a volcano with clockwork precision. In the studio construction, none of these arpeggios are rolling about but a slow melodic touch over drone-like synthesiser tapestries. Maybe also a bit on the cosmic side, but less urgent and more ambient. To me, it seems Potter exercises more control in this piece, whereas in the live pieces, he's wilder and lets things run wild. Two sides of the master, and while I slightly prefer the controlled constructions, it's a great release." [FdW/Vital Weekly] https://icrdistribution.bandcamp.com/album/we-couldnt-agree-on-a-total	2023	€14.00
POTTER, COLIN & THE HAFLER TRIO	A pressed on Sandwich	CD	Erste Zusammenarbeit der beiden Urgesteine britischer Experimental-Drones / Elektronik, ein one-tracker von ca. 53 Minuten Länge. POTTER bearbeitet die H30-Sounds, das sind organisch-elektronische Oberton-Klangstrahlen, die sich glitzernd & oszillierend ins Ätherische winden, ruhig & klar & zur Versenkung einladend.... "CD is packed in special paper wallet & released as the limited edition of 1010 copies. This nutritious fare was prepared by Colin Potter at IC Studio, Preston, UK in 2005, using the finest Icelandic ingredients supplied by The Hafler Trio." Colin Potter explains: "I attended The Hafler Trio performance of 'How To Slice a Loaf of Bread' in Preston and was very impressed on many different levels. During a discussion with Andrew McKenzie after the event, he suggested that we might try a joint project. Shortly afterwards he sent me some of the original source material from the performance. It was my intention to preserve the overall shape & sense of the material, but at the same time move it to another (sonic)..” [label info] “Do any of these two artists need really an introduction? I don't think so. Both are big shots in the world of experimental music. Early 2003, shortly after the re-discovery of The Hafler Trio, the trio did a performance in Preston called 'How To Slice A Loaf Of Bread'. The performance was attended by Colin Potter, who lives and works in the same city. Afterwards it was suggested that the two should work together, but McKenzie being Iceland and Potter in Preston made a tete-a-tete not easy. Andrew McKenzie mailed Colin Potter the original source materials for the concert, which Potter happily reworked into 'A Pressed On Sandwich'. The original performance was also released (see Vital Weekly 404), so there is something to compare. Both The Hafler Trio and Colin Potter are masters of drone music, but there are some subtle differences. The Hafler Trio seem overall more monochrome in approach, with so it seems for the listener who doesn't know any better, whereas Potter seems to be using more sound effects to create the soundscapes that he does, maybe less organic and more electronic. As said, the differences are quite subtle here, and there is certainly no hierarchy, both are masters of the genre. Potter's mix is perhaps a bit more dense and obviously more concise (The Hafler Trio release spans three CDs), but it moves as gentle and dark as the original. Great collaboration.” [FdW / Vital Weekly] "Fucking brilliant. Yeah, you should expect that these two high caliber sound sculptors would manage something great; and they do not disappoint. As for the obligatory introductions, Colin Potter may be best known from his ongoing contributions to Nurse With Wound over the past two decades, but has been privy to some of the finest in British dronescaping thanks to his work in Ora and Monos. The Hafler Trio is the creation of Andrew McKenzie, a sound research project which has been investigating the impact of sound upon the body, mind, and spirit through the lens of a Byzantine gnosticism. A couple years back, Potter had the good fortune of witnessing the Hafler Trio's How To Slice A Loaf Of Bread performance in Preston, England in 2003; after the show, Potter and McKenzie struck up a conversation, whence McKenzie suggested that the two collaborate. Shortly thereafter, McKenzie sent Potter a collection of the source material from that very performance as the foundation for their collaboration. Potter stated his intentions clearly, that he wanted to preserve the shape of the material while pushing it into another space. It's an understatement to say that Potter merely achieved his intention; as A Pressed On Sandwich ranks as one of the best things that he's worked on, on par with his work with Steven Stapleton on the existential void of Nurse With Wound's Salt Marie Celeste. Yeah, it's that good! Of course, McKenzie ultimately stretched out his own material of monumental dronings over a whopping six discs on the twin set of triple cds also entitled How To Slice A Loaf Of Bread (all of which are long out of print); so Potter's redux is a bit easier to digest, but certainly no less an album! You'll encounter the drone supreme here on A Pressed On Sandwich with electrified tonal vibrations, undulating phase patterns, and oceanic gasps of sublime expanses. The album starts off with a very cold, shivering feel but eventually transitions into a dynamic interplay of tones that simultaneously capturing the solemnness of church organ droning (with all of the overtones of holy symbolism) and the unnerving purity of feedback (with all of the allusions of technology on the brink of collapse). We mentioned it before, and we'll mentioned it again: fucking brilliant." [Aquarius Records]	2006	€15.00
PROTAGONIST	Songs of Experience	CD	"in 1794, william blake published ‘songs of experience’ as an addendum to ‘songs of innocence’, to complete the picture of ‘the two contrary states of the human soul’ - the state in question here being the constriction of the human spirit, the suffocation of creativity by the force to conform. after magnus sundström aka the protagonist had released his debut ‘à rebours’ in 1998, the sky seemed the only limit for this musical entity. but, to much disappointment within the industrial scene, for the next seven years only a couple of compilation appearances would be heard from the protagonist. then, in 2005 two cds came out via cold meat industry: the aptly titled ‘interim’ ep and the album ‘songs of experience’ (which was actually not entirely a new album, but in parts consisted of reworked versions of the aforementioned compilation tracks and a couple of tracks from the previous ep). the music on ‘songs of experience’ resolved all doubts: the protagonist is a devoted artist, putting quality over quantity, and the result had been well worth waiting! as if no period of inactivity had ever discontinued the creative flow, the protagonist reassumed the path of the debut: orchestral splendour, rigid drumming, dramatic string works and an increased presence of haunting, eerie atmospheres, pushing the album towards the darker edges of the neo-classical spectrum. vocal deliveries are rather sparse and restricted to short spoken parts this time around, but feature prolific guests again: tomas petterson of ordo rosarius equlibrio lent his unmistakeable voice to the protagonist’s most wellknown track, ‘strife’, a truly bombastic marching tune. jonathan grieve of contrastate can also be heard on one track, the heart-shattering ‘sick rose’. among all the opulence, romantic leanings all over, though the whole composition takes a decidedly bleak direction. the adapted literature features not only blake, but also baudelaire (here’s the symbolist theme again) and no other than the master himself, mr. william shakespeare. all in all, music and content combine into one impressive libertine’s manifesto, proclaiming the power of free thought and the mistrust of authorities! for this well-timed re-release, raubbau gathers together not only the original album, but also the exclusive tracks from the ‘interim’ ep, thus presenting the entire bundle of cmi-released protagonist tracks. until today, the protagonist stands out unique among neo-classical artists for the sheer brilliance of composition and the authenticity of his preoccupations - he is really serious about seriousness. history has been revealed, let beauty unfold!" [label info] www.raubbau.org	2012	€6.00
PROYECTO MIRAGE	Turn it on	CD	"proyecto mirage was founded in 1990 by alicia h. willen and francisco planellas. they were initially influenced by the classic electro-pop of the early nineties (a sound which is still present in their side project bubble gum) but the duo was also attracted to industrial-music projects like s.p.k., whitehouse and - of course - esplendor geométrico. their first release saw the light of day after nine years, and their creative output since then has evolved into more complexity. the hard-floor oriented aggressiveness was enriched with electronic ingredients of all kinds - ranging from electro and electronic body music to techno, drum'n'bass, or even sounds similar to those of experimental 'bridging artists' like aphex twin and pan sonic. artists who share p.m.'s taste for alarming atmospheres, broken melodies and distorted rhythms. 'turn it on' is the conclusion of more then ten years of progression. lashing high-speed dance floor blasts ('cannibal party'), distorted eighties nostalgia (6 6 5, 9), straight breakbeat excursions ('welcome to life'), pounding four-to-the-floor industrial anthems ('salvation', a collaboration with italian experimental/folk mastermind spiritual front), disturbing experimental-core ('darker bex') - this album is a perfect amalgamation of all facets of the electronic assault culture - all of which is welded together to form a powerful statement that encompasses severity as well as humorous wickedness - nobody expects the spanish inquisition! this is what they are, this is where the project is today - take it or leave it. always keep in mind: proyecto mirage is not just an illusion but a concrete reality!" [label info] www.ant-zen.com	2008	€14.00
PSICO ACUSTICA	iconoclastia sonora literaria # 1	BOOK	Tolles Buch-Magazin aus Portugal, mit vielen Artikeln über oder von Musikern / Künstlern aus dem experimentellen und akademischen Untergrund... Great magazine from Portugal, professionally printed, featuring lots of artists from the experimental & academical underground, but also poetry, reviews, prosa and artworks/ photos. Texts in english & portugesian. “ vol.#1 artigos exclusivos de: \| exclusive texts by: John Duncan Ralf Wehowsky Bruce Russell Achim Wollscheid Merzbow The Hafler Trio + Fernando Guerreiro Ian Taylor Paul Buck Paul Green Don David Heliogábalo “ [press-release]	2001	€8.00
PSYCHIC TV	Alien Be-In	12inch	"Dark Entries Editions is venturing into new waters with a remix EP of Psychic TV’s classic Acid House song “Alien Be-In”. Psychic TV was formed by Genesis P-Orridge and Peter Christopherson after the breakup of Throbbing Gristle in 1981. After various line up changes, the band shifted direction to dance oriented songs influenced by the Acid House scene in America. By 1988 experimental electronic musician Fred Giannelli, of Turning Shrines, joined the band and over the next 2 years started to record songs for “Toward The Infinite Beat”. The album was a mix of deep, multilayered tracks full of bright and hypnotic dance numbers, providing the soundtrack to the rave culture that sprung up in the UK in the 90s. “Alien Be-In” was written in early 1989 on an E-mu Emax Sampler and an Alesis MMT-8 sequencer. Vocal samples were taken from a tape American investigative reporter Don Bolles sent to Genesis. A didgeridoo rides throughout the song, heavily modulated by a Gristleizer creating a hypnotic effect. Near the end of the song the breakbeat slides out of time yet the band chose to leave this in because it sounded strange and fit the concept of the track. Genesis played a spaced out Echo Violin and the band used 360 degree panning rotation devices. For this reissue Fred Giannelli takes a stab at remixing the mono mix of the original sequence sourced from the Emax floppy discs. On the flip are two brand new mixes, the first from Los Angeles based producer, Silent Servant, who updates the classic with his modern brand of driving EBM techno. The second remix is a team effort from Silent Servant and veteran producer John Tejada, that re-creates the original melody using a Roland TR-808 and TB-303, paying homage to early Chicago Acid House artists like Lil Louis and Robert Owens. All songs have been mastered for vinyl by George Horn at Fantasy Studios in Berkeley. The 12” is housed in a mind-alerting, metallic silver die-cut sleeve and a neon green label that pops through, featuring the psychic skull transformed into an alien cone head label all designed by Eloise Leigh. Each copy includes a 2-sided 11x11 square insert with black and white photo of the band from 1988 and liner notes by Fred Giannelli." [label info] www.darkentriesrecords.com	2015	€16.00
PUPILLO, MASSIMO	Our Forgotten Ancestors	CD	Massimo Pupillo is a composer and multi-instrumentalist, mostly known for being a founding members of ZU, with whom he released 18 albums and played more than 2000 shows around the world. He has also kept a very open and multidisciplinary approach that led him to work with some of the most acclaimed figures in today's world of arts: Romeo Castellucci, Chiara Guidi (of legendary avantgarde theatre group Societas Raffaello Sanzio), american choreographer Meg Stuart, french opera star Marie-Agnes Gillot, contemporary dance group Dewey Dell, world reknown dancer Yaman Okur, etc. He has collaborated live and on record with avant-garde musicians and composers such as Alvin Curran ( founder of Musica Elettronica Viva in 1966), with world-famous piano duo of Katia & Marielle Labeque, with classical music virtuosos such as Viktoria Mullova and Giovanni Sollima. He has also recorded with Canadian soprano and orchestra conductor, Barbara Hannigan. Working with Katia Labeque he has had the huge honour of an album artwork designed by Storm Thorgerson, founder of Hipgnosis, probably one of the most important designers in music. With Katia Labeque, he has played and arranged tracks of an album of Moondog music that was released on the most important classical label ever, Deutsche Grammophon. Also with Katia Labeque he presented a special project at Paris' Philharmonie in 2016, working, between others, with Justin Vernon (Bon Iver), Bryce and Aaron Dessner (The National). In the world of electric/ rock music he has collaborated with some of the most important names in the international scene, such as Mike Patton ( Faith No More), Stephen O' Malley ( Sunn O)) ,Thurston Moore, Jim O' Rourke (Sonic Youth), Guy Picciotto & Joe Lally (Fugazi), FM Einheit ( Einstürzende Neubauten) , Buzz Osbourne (Melvins) Damo Suzuki (CAN), etc. In free-improvised music he worked with Peter Brotzmann, Toshinori Kondo,Tony Buck ( The Necks) etc.. In the experimental music scene he has collaborated with Oren Ambarchi, David Tibet (Current 93), Thighpaulsandra (Coil), Christina Vantzou, Daniel O'Sullivan, Andrea Belfi, Abul Mogard,, Mick Harris (Scorn), Gordon Sharp (This Mortal Coil & Cindytalk) etc... Between ZU, solo work and collaborations, he released more than 80 albums and played more than 3000 shows all over the world. As in 2022 he just recorded a collaboration with world famous iconic actor Malcolm McDowell called "Songs Of Stone" that will be released in september on italian label Subsound Records, and is currently working on a sound installation with Roger Ballen, one of the most influential and important photographic artists of the 21st century. We know it engraved in our cells The origin To feel the primordial song We need to have A childish interest For the universe Living In a hint of islands Far and true Atlantic and remote ones A hint, that's enough To find each other Where time didn't exist When there was only space When there were mountains and seas and sky And unnamed creatures With roots like plants Who extracted new forms of language from the force To make the passage on earth more tender To find a song that could ease the burden of love Of this multiform creature that welcomed us To expand ourselves like jellyfish And make distance accessible to us Making a continuous motion Transforming this perpetual vibrating into our fusion Since the origin In a silence Made sound And then meat Swimming on seabeds of ice and fire A language that dances the dew of dawn And sings the hidden streams An origin where we find our ancestors Timeless faces Who breathe the depths of the sea and move the mystery Meet them everywhere For those with eyes to see And ears to hear Lived in the handed-down word And in the tolling of the sky, that we call hail On the journey back Your hand is shaken And your conscience accompanied In crowds so endless And inhabited By a primordial solitude Where our home will be a fire of inaccessible glaciers In the stillness of a love that expands in a restless cosmos With that hint still clinging Of distant and real islands From which the primordial song comes Recorded and mixed by Massimo at Theresa House 2021/23 Beautifully mastered by Lorenzo Stecconi at Triple Sun 2023. Sleeve design by Rutger Zuydervelt Front cover photo by Fridtjof Nansen An Inuit woman with child on her back, Gronlandshavet, Kap Seen Bille Taken during Fridtjof Nansen's expedition to Greenland, July 1888 - May 1889 https://glacialmovements.bandcamp.com/album/our-forgotten-ancestors	2023	€16.00
R.O.T.	L'Ecurie	LP	Eine wunderbare, sehr mysteriös und seltsame tönende Platte! Auch nach mehrmaligem Hören weiss man noch nicht so recht, was hier eigentlich passiert. Sehr dronig und ambientös und vielschichtig "folkig-organisch"; etwas low-fi & fliessend improvisiert erscheinen die Dronescapes, dick & undurchdringlich und auch psychedelisch...erinnert an ruhigere VIBRACATHEDRAL ORCHESTRA z.B... "r.o.t. has gained a quality reputation in the underground scene during their six years of existence. this led to a splendid cdr- and tape discography. "l'écurie" is their first long player. each side contains two jams that sound like calm and fluently movements through sound at one time, then like a somewhat more brutal treatment at another point. the album shows nicely how r.o.t. works as a (live) band. it's not about well-thought sound poetry here, but about spontaneous improvisation where random incidents are considered as an extra band member. a slow bass that wanders gently through the acoustic droning, when suddenly an alarm clock starts to ring, followed by new almost-quietness and laidback noise. r.o.t. stands for an original approach of sound sources and a continuously seeking for the "moment". side a was recorded in an abandoned administration building in jette, a small town near brussels. the space was run by young students for six months and renamed the place "l'écurie", the french for stable. r.o.t. improvised in the dusty kitchen during three long days, mostly during the nights as well. the tracks on the b side are takes from improvisations in an horse stable. there again the album's title refers to l'écurie. this time at an old farm which is called ferme du biereau (louvain la neuve). the farm is also known as a nice venue and spot for artists en musicians." [label info] www.kraak.net	2006	€13.00
RADIGUE, ELIANE	11 Dec 80	do-CD	"11 Dec 80 is a two-CD set containing Eliane Radigue's live performance of Chry-Ptus (1971), her first work for modular synthesizer, and the world premiere of parts one and three of Triptych (1978). Triptych part 2 is also performed. Upon hearing these performances for the first time in many years, Radigue declared them to be the best versions she'd ever heard. Radigue's sublime renderings of these major pieces are full of illusory stasis, slow change, and dense, slow-motion drone that has characterized her pioneering electronic work. These pieces move like a river with currents shifting beneath the surface. While you can't quite distinguish the individual components you get a clear feeling of motion and change." [label info] https://imprec.bandcamp.com/album/11-dec-1980 "Carrying on their incredible dedication to the work of Éliane Radigue, Important Records returns with “11 Dec 1980”, a staggering double CD of never before released live recordings. Capturing the composer in the midsts of sublime performances of her two seminal works, “Chry-Ptus” and “Triptych”, and in the case of the later debuting two of its sections. A rare chance to return the ear to a crucial period in Radigue's sublime and astounding career. For the better part of two decades, the American imprint, Important Records, has occupied a crucial place in the landscape of ambitious and forward-thinking contemporary sound, offering a home to an incredibly diverse range of artists. Recently, it’s been hard to ignore their growing catalog of archival works and reissues by historically seminal composers like Alvin Lucier, Pauline Oliveros, Yoshi Wada, Charlemagne Palestine, Catherine Christer Hennix, Else Marie Pade, and, most notably, Éliane Radigue, whose “11 Dec 1980” - a never before issued body of live recordings - that now joins their incredible catalog. Encountering the composer performing live during a defining moment in her career, its truly remarkable sounds are imbued with a historical importance that can’t be understated. Comprising the works “Chry-Ptus” and “Triptych” across a beautifully produced 2CD set, this is one of those albums that can’t be missed. The French composer, Éliane Radigue, is among the most remarkable creative figures working today - a visionary mind who has quietly blazed trails for more than half a century, leaving an unparalleled body of work in her wake. She has endlessly rewritten how we understand music and the materiality of sound. Quiet, radical, and rebellious, her works are infused with mesmerizing intellectual and creative optimism, culminating as sonic mediations which join life and art as a single force. Born in 1932, Radigue began her musical endeavours in Paris during the late 1950 and early '60s, working under Pierre Schaffer and Pierre Henry, before quickly outstepping the limits of her mentors. First working predominantly in tape, during the early 1970s she made the radical switch to modular synthesis. Over the next three decades, drawing on her inward passage as a practicing Buddhist, she dedicated herself to an intimate relationship with her ARP 2500, exploring it endlessly - pushing not only her own notions of musicality endlessly forward, and with it the entire landscape of experimental sound. During the early 2000s, Radigue made the unexpected shift in moving from synthesis to composing for acoustic instruments - most notably appearing as the sprawling, constantly evolving work, “Occam Ocean”. While this has closed the body of electronic works that evolved over the course of three decades, thankfully there have been a slow trickle of archival works to return us to those incredible sounds. Important’s “11 Dec 1980”, is the latest to return this seminal period in her career to our ears. Spanning two CDs, “11 Dec 1980” comprises two works performed live by Radigue on the composer Charles Amirkhanian’s Berkley, CA, based morning concert series on KPFA radio. The first piece, taking up the entire first disc, is “Chry-Ptus”, among the most important works in her output from a period of remarkable growth and transition. Made in 1971 at the studio she shared with Laurie Spiegel at New York University, on a Buchla installed by Morton Subotnick, It was the first she composed for the modular synthesizer, and thus laid the foundations for decades of work to come. In addition to representing a bridge within Radigue’s own practice, “Chry-Ptus” equally signifies a transition within the history of synthesis, incorporating textural elements which offer an image of its generative machine, as so many electronic works had done before it, while clearly moving into more etherial and constrained territories that would represent a seismic shift within the field; a pulsing body made of the Buchla’s bleating tones, giving way to an incredible dance of sub-harmonics and overtones generated by the simultaneous playback, with or without synchronisation, of the two tapes onto which they were committed. The result is overwhelming immersive, mediative, surprising and beautiful, and that doesn’t even begin to address its historical weight. The second disc of “11 Dec 1980” is “Triptych”, a work that wouldn’t relieve a proper physical release until 2009. Remarkably, this performance represented the world premier of two of the three parts (1 & 3). Like “Chry-Ptus”, “Triptych” is a major composition in Radigue’s canon. Composed and recorded in her Paris studio, it is the first in a series of masterpieces inspired by Tibetan Buddhism, the religion and practice that would guide her work over the coming decades, as well as marking her return to composition following a slowing in her musical production that resulted from spiritual explorations. Each part of the work draws its inspiration from 'the spirit of the fundamental elements,' water, air, fire, earth..” Created with a great sense of humility and contemplative simplicity, “Triptych” begins with a passage of slow rumbling, as though drawn directly from the organic matter of the natural world, before shifting into nearly an hour for delicately modulating synthesised long tones and drones. Here we encounter Radigue's sublime rendering eluding to full illusory stasis, rich with density and microscopic motion. It’s the composer at her absolute best, immersing the ear in consciousness altering sounds like no other can. Once again, Important has done some seriously remarkable work, unearthing these recordings and transporting us back to an exceptional moment in Radigue's creative evolution, not to mention electronic music at large. Issued as a double CD, and overwhelmingly beautiful, we’d struggle to recommend it enough." {Soundohm]	2023	€20.00
	Feedback Works 1969-1970	LP	Feedback Works 1969-1970 However mesmerizing they may be, the works of Éliane Radigue which could be found on record were quite rare when I met her in 1998: “Trilogie de la Mort”, “Biogenesis”, impressive pieces composed on the ARP 2500 synthesizer between 1970 and 1990. There was also the very rare double 7" “Σ=a=b=a+b”, edited by the author and then brought out by the Yvon Lambert Gallery in 1969, which seemed to unveil a turbulent side of the composer’s youth. This work was intended to be presented as a sonic environment and had been composed with nothing but feedback effects on magnetic tape… a relatively crude piece compared with those for synthesizer, difficult for me to relate to. I hastily concluded that Éliane had dabbled with feedback for its hot-tempered quality, a bit like her colleagues Robert Ashley or Alvin Lucier, before passing on to something calmer (in her case, the rounded and peaceable harmonics of the synthesizer)… my mistake. “Σ=a=b=a+b” was but a small part of the group of works based on feedback, just one of the more rough nuances from that so-rich period. When I visited her in her Paris apartment for the first time, what made an impression on me were the immense shelves taking up the entire entryway, filled from floor to ceiling with tapes. All those sounds… the whole life story of an electronic composer. Immediately I became overcome with curiosity as to the beauties hidden within those boxes, no way not to find treasures within. I did not know anything as yet. Éliane lives in an eternal present, one could almost say. I had never met someone who at her age was not busy digging around in their past. She, on the other hand, simply considered that she always had “her whole life in front of her”. Éliane, always inhabited by music, usually lives with a new project in mind. Even if not at all stingy in responding to questions about her rich past, one would not say that she tried to evoque times gone by. I quickly proposed to convert her magnetic tapes to digital. Not only to create an archive but also and especially to search out all the details, the secrets of this unique body of work. For years all I got were polite but firm refusals. She wanted to convince me that there was nothing but never-ending dust, and babbling, risky if not primitive… Things only changed suddenly after a return from Chicago in 2002 for the release of “L'Île re-sonante”. Delighted with the experience, she described the evening of the concert. She had been overwhelmed by the presence of very young people who came up for a signature on the boxset of “Adnos” trilogy (realised between 1974 and 1982 and published in 2002 by Table of the Elements. This time when I said that these works of the past were in effect full of passion and so it might be the time to put in order the archive, she said laconically, but with enthusiasm: “Oh, alright! But you do it, you know where everything is”. The big job could begin; I was enchanted and am still. I expected to find other works on the rough side, like “Σ=a=b=a+b”, but with surprise quite another thing came forth. The digital versions were all done in Lyon, at Lionel Marchetti’s. His interest in and knowledge of Éliane’s music, along with his detailed work, made for a most enjoyable activity. I recall the silence in the studio when we uncovered works surely never listened to after their first public performance, not to say ever presented... Sounds older than I was, for sure. Certain of these works had something of the traumatic about them: my goodness, she made these magnificent sounds with only three pieces of string! Thus were the works of the feedback period of Éliane Radigue revealed, as we gradually got them digitized, extending over five years approximately: “Omnht” with its broad tectonic vibrations, the celestial voices of “Usral”, the dense silences of “Jouet électronique”, “Stress Osaka” massive chant, the horizon moving in “Vice-versa, etc.”, the magnetic bewitchments of “Opus 17”… each one brought its load of surprises and burst a well filled time bubble. So did we rewind the thread of her biography, discovering obvious connections even in the texture of the sounds themselves, which joined that period to the synthesizer one. There is nothing anecdotal in the feedback period of Éliane Radigue. A good dozen pieces were composed between 1967 and 1970 in which most of the characteristic originality of her works had their beginnings. It is moreover continually amazing that she could build such formidably organic sonic edifices with the primitive machines which were hers: three tape recorders, a mixing board, an amplifier, two loudspeakers and a microphone. A home studio certainly primitive, but there were not any home studios to speak of in the sixties, the cost of materials being too high. To compose electronic music, or “concrete” or “experimental” (what distinctions!) you had to have access to an institutional studio (At the time usually located in the large radio studios, or certain universities). Indeed, a large part of Éliane’s possessions came from Pierre Henry. She met him at the “Studio d'Essai” of the R.T.F. in the middle of the 50s, after having met Pierre Schaeffer almost by chance (if such a chance does exist) who invited her to learn the techniques of musique concrète. In fact, from 1955 to 1957 she learned all about these techniques there, “in the shadow of the masters” she says. Éliane emphasizes that she could be there as a “quiet little mouse”, because she cast no shadow on the masters of the place. She learned, as she says, that she was only there as a student. During the 50s no avant-garde musician could imagine a woman seriously competing with them… Jokes erupted: “At least when Éliane comes to the studio it smells good!” etc. Nevertheless Pierre Henry liked one of Éliane’s montages and wanted to use it in a piece he was working on, “L'Occident est Bleu” (1957). From 1957 to 1967 she no longer had access to a studio. During these ten years she will be travelling, taking care of her family, and composing a few graphic scores which will never be published, or even played: “Asymptote Versatile” in 1960, or yet “Chess Game” (based on a chess match between Marcel Duchamp and her then husband, Arman). She was biding her time. She was to once again assist Pierre Henry from 1967 to 1969, and there she made her first tape compositions. During the last stage of mixing “L'Apocalypse de Jean”, in 1968, Pierre Henry brought to her some of the materials which would become her studio, so that she could continue working on some parts of the “Apocalypse” he asked her to work on, while he continued working at Studio Apsome. These things remained in Éliane’s house and she bought what was lacking to work autonomously: one more tape recorder, a microphone, and then, in 1971, the ARP 2500 synthesizer. Even if these first compositions date from the end of the 60s it seems evident the entire creative process in Éliane Radigue’s work had begun in the Studio d’Essai in 1955. What I always find striking when I listen to the first piece “Jouet électronique” (realized in 1967 at the Apsome Studio and published in 2010 by Alga Marghen) is the maturity and expressive force in this short composition. There is already a tension and poetry proper to her own. Similarly, “Jouet électronique” seems to contain the germ of all which is to come. Or at least it opens all the paths which she will follow indefatigably. It is as if her musical work in some way contained a martial arts discipline on which she meditated for 10 years before striking the first blow, with an impressive precision… Right away her music separates from the explorations of musique concrète, from any academism, or whatever style then in vogue. Her adventure is intuitively going towards flux, towards contemplative stasis. A music of continuous sounds, of apparently simple structures, which permits the revelations and expansion of rich acoustic phenomena. One could say that in one sense it is the very texture of the sounds which leads the form in her compositions. At the same time this approach favors an intense sensuality in the listening. The fluidity of form in Éliane Radigue’s music has more to do with certain world music traditions, composed of drones, resonances, pulsations (although I cannot be sure that this was really the inspiration). A music in which time is suspended, but not stopped, rather unfolding with an intoxicating slowness, engendering fascination rather than boredom. Between 1969 and 1970 Éliane Radigue gave up measured durations and composed works which flirted with eternity: “Usral” (1969), “Labyrinthe Sonore” (1970). and “Omnht” (1970). They are generally made of several tape loops of clearly different duration read simultaneously. In this arrangement, simple and ingenious (close to the usage of Steve Reich in his youthful pieces), the fixed sounds go slowly out of synch, in a play of perpetual mutation. From this appears a sonic landscape whose temporality, as well as its materiality, could be described by these verses by Paul Verlaine: “…who, each time, is never quite the same, nor completely another…” The terms “Sound Art” and “Sound Installation” are in vogue at this moment. There was nothing like it at the time. A way of describing this new approach had to be developed. So she presented her works under the description “Propos Sonores” (Sonic propositions) or sometimes “Music without End”. These works were unveiled to the public both in the places consecrated to music as well as museums and galleries (Yvon Lambert, Lara Vincy, etc.). Nothing surprising in the fact that these “Music without End” at times, like a halo of the infinite, accompanied works of such visual artists as Marc Halpern or Tania Mouraud. For all that, without minimizing the interest of these collaborations, it seems important to add that the sounds she used have in themselves a completely “plastic” quality. This is the context in which Éliane composed “Omnht” in 1970 for one of the architectonic spaces of the visual artist Tania Mouraud, “One More Night”, presented at the Gallery of the Rive Gauche in Paris. With Jean Heuzé, one of Pierre Henry’s co-workers who helped out on this project, Éliane had the idea of screwing the speakers into the partitions so that they would be invisible with respect to the immaculate exhibition space. Due to this the sounds could vibrate within walls which become resonant surfaces. This description caused me to “leap up to the ceiling” because it is a technique that I used myself in my sound installation work… only twenty years later. I quickly felt it necessary to present this piece anew. In 2006, thanks to an active competition by the Consortium Art Center and the association “Cumulus” in Dijon (organizers of the contemporary music festival “Why Note”), it was possible to do a version among the old industrial buildings of “L'Usine”. Large plaster partitions were already in place and formed an ideal group of surfaces for the installation of loudspeakers. Resounding in these grand rooms, “Omnht” seemed to shake the entire building, thus creating a sonic architecture of time and space… A vast edifice of vibrations, built like a mirror of frequencies in which were reflected our inner worlds. It was admirable to see how much this work had resisted time; the fascinated reception by the public left no doubt as to its poetic force. After this public presentation I set up a stereophonic synthesis of that installation in my studio, by combining the original sounds with those taken at “L'Usine”. I felt a lively need to hear those magnificent sounds again. I realized moreover that the sonorities of “Omnht” survived the reduction quite well, and I found once more with happiness the unique intensity of this spatial composition. Some time later, Éliane offered me one of the 10 copies of “Vice-versa, etc.”: a small handmade box, signed and numbered, realized as a multiple on the occasion of a show at Lara Vincy’s gallery in 1970, which contained a reel of magnetic tape and the instructions for use. It indicates that all playback speeds are possible, forwards or backwards, as well as any combination of two channels, on several recorders, “ad libitum”… A present which touched me profoundly. I took up the game and rapidly made mixings following the indications to the letter, respecting the composition methods of Éliane Radigue. Need I say that to work with such lovely sounds was a real pleasure? Then I decided to do the same with all her sound installation works: slices of time from those sonic environments dedicated to space and infinity. There are so few spaces devoted to Sound Art, so the occasions for presenting such work to the public are rare. It seems evident to me that if we waited for that to happen very few people would have access to that part of Éliane’s work. Fundamentally, these stereophonic syntheses should have been made and published a long time ago because this compilation offers a simple way into the home of this passionate time. Therefore, I proposed that we listen to them together, because of course the idea should seem legitimate to her. Knowing her to be extremely critical towards her past work, and ready to renounce certain aspects of it, I confess to being a bit anxious as to her reaction. Neither did I know how she would react to my taking the initiative in making such syntheses. Contrary to my apprehensions we passed a marvelous day. Éliane had forgotten practically everything of the sonic textures she made then, and discovered evident links with the sounds she realized later on with the synthesizer. In her compositional work Éliane Radigue developed her own characteristic “footprint”: an art of imperceptible transition from one kind of movement to another. It is very difficult to know at what moment things change, because they are continually changing without one’s really being aware of it… a little like a natural phenomenon in perpetual mutation. This is doubtless one of the magical constituents of her music and it engenders the loss of any temporal reference point. If you look over the whole from her first compositions to the most recent ones for acoustic instruments, passing through the imposing electronic period, it seems evident that this way of gentle transition is a characteristic of her entire work. Not only within the compositions but also from one composition to another. We do not confront a collection of isolated experiences but rather embark on a patient and minute exploration of a vast poetic territory. At the end of the day it was clear to her, just as it had been for me, that these syntheses had to be complied and published. This certainly does not replace the necessity of in-situ presentations; all of the music of Éliane Radigue is destined to vibrate spatiously and this is all-the-more so for the installations. And in any case, this collection gives a good overview of the intense beauty of these “Propos Sonores” composed so long ago with such reduced means. By her original approach, Éliane Radigue held herself, as she still does, outside the dogmas of her epoch and therefore had to sometimes face some lack of understanding. Intuition is however her force, and she has known how to continue until today composing in full independence of spirit; her aesthetic gives forth a body of work unique in its genre, honorably recognized and appreciated today. We are among the many who see her as a pioneer capable of revealing a precious territory of sounds, one that she seems alone to occupy. To us to enjoy this publication of the first remarkable steps of a figure who holds the music of our time in her spell. Emmanuel Holterbach https://elianeradigue.bandcamp.com/album/feedback-works-1969-1970	2022	€24.50
	Opus 17	do-LP	"alga marghen very proudly presents "opus 17", a major turning-point in the sonic oeuvre of eliane radigue. finished in 1970 it was the last work composed with feedback materials. from that experimental period "opus 17" preserves the plastic character: a music made of rough sonic phenomena, at once harsh and granular, possessing a quality of materiality and tactility. its vibrations structure the air surrounding the listener with densities, thicknesses, indeed with palpable movement. her compositions are frames which let us hear these phenomena, open frameworks from the sonic installations of her endless musics and here reinserted in the five scenes making up "opus 17". in 1970, in her studio of very rudimentary means, she developed a completely unique body of work centered on sounds produced by feedback. "opus 17" has the quality of showing off the sum of the achieved techniques and methods. eliane radigue's music has never been rooted in ideas but in practice, the intimate experience of things in the wild which she has known how to tame. this dialog both intense and poetic which she keeps up with the solid matter of sound finds a remarkable concretization in "opus 17". it is to be underlined that with "opus 17" eliane radigue inaugurates a technique of composition which will be her footprint, her trademark: imperceptible transformations. for that she has developed a technique of meticulous mixings, based on the slow passage from one section to the next. imperceptible, all during the piece, we pass, ceaselessly and without noticing the changes, from one frequency flux to another. time is suspended, smoothed out, stretched. it is this technique which eliane radigue will be essentially using for all the electronic works to come and which she will never cease to refine and render always more subtile. "opus 17" is the great panoramic voyage through material sound, its electronic phenomena detailed as if in a microscope. could feedback really contain such a universe? "yes", the work of eliane radigue answers, but that exploration was not that easy: one had to learn to listen. it required eliane radigue's great demands on listening which led her to the discovery of such treasures. unknown wealth in a material often rejected as trivial. "opus 17" was created at the artistic center of verderonne on may 23, 1970, for the fete en blanc (i.e. white festival) organized by the visual artists antoni miralda, joan rabascall, dorothee selz and jaume xifra. 2021 repress, edition of 300 copies	2021	€36.00
RADIGUE, ELIANE & FREDERIC BLONDY	Occam XXV	CD	In 2018 experimental festival Organ Reframed commissioned Éliane Radigue to write her first work for organ, 'Occam Ocean XXV'. Radigue worked closely with organist Frédéric Blondy at the Église Saint Merry in Paris before transferring the piece to Union Chapel for its premiere at Organ Reframed on 13 October 2018. The recording on this compact disc was made at a private session at Union Chapel on 8 January 2020. 'Occam XXV' inaugurates the very special record series of works exclusively commissioned by Organ Reframed, the organ-only, one of a kind experimental music festival, carefully curated by Scottish composer/performer and London's Union Chapel organ music director Claire M Singer. Paris-born Éliane Radigue is one of the most innovative and influential living composers of all time. After working under Pierre Schaeffer and Pierre Henry in the late 1950's/early 60's she mainly worked with tape before developing a deep relationship with modular synthesis in the early 1970's. Over the next three decades she pushed her own conceptions of musicality forward developing a deep relationship with her ARP 2500. Through endless exploration and drawing on her personal journey as a practicing Buddhist she created an entirely new landscape of experimental sound. In the early 2000's she made an extraordinary shift into writing predominantly for acoustic instruments. 'Occam XXV' is the latest chapter of Radigue's broader series of works Occam Ocean which she has been composing in the last decade. Carefully selected by Radigue she has closely collaborated with various extremely experienced yet sensitive instrumentalists. For Occam XXV Radigue collaborated with pianist, organist, composer, improviser, artistic director of the Orchestra of New Musical Creation, Experimentation and Improvisation (ONCEIM) Frédéric Blondy, which is their second collaboration in the Occam Ocean series. 'Occam XXV' premiered in 2018, and was later recorded privately in 2020 at London's Organ Reframed headquarters Union Chapel. "We live in a universe filled with waves. Not only between the Earth and the Sun but all the way down to the tiniest microwaves and inside it is the minuscule band that lies between the 60 Hz and the 12,000 to 15,000 Hz that our ears turn into sound. There are many wavelengths in the ocean too and we also come into contact with it physically, mentally and spiritually. That explains the title of this body of work which is called Occam Ocean. The main aim of this work is to focus on how the partials are dealt with. Whether they come in the form of micro beats, pulsations, harmonics, subharmonics – which are extremely rare but have a transcendent beauty – bass pulsations – the highly intangible aspect of sound. That's what makes it so rich. When Luciano Pavarotti gave free rein to the full force of his voice the conductor stopped beating time and you could hear the richness in its entirety. Music in written form, or however it is relayed, ultimately remains abstract. It's the performer, the person playing it who brings it to life. So the person playing the instrument must come first. I've always thought of performers and their instruments as one. They form a dual personality. No two performers, playing the same instrument, have the same relationship with that instrument – the same intimate relationship. This is where the process of making the work personal begins. The purely personal task of deciding on the theme or image that we're going to work from. Obviously, because this is Occam Ocean, the theme is always related to water. It could be a little stream, a fountain, the distant ocean, rivers. Out of the fifty or so musicians I've worked with no two themes have been the same. Each musician's theme is completely unique and completely personal. The music does the talking. This is one of those art forms that manages to express the many things that words aren't able to. Even at an early stage, all those ideas need to have been brought together." - Éliane Radigue Since its conception in 2016, Organ Reframed has commissioned artists including Low, Hildur Guðnadóttir, Philip Jeck, Phill Niblock, Mark Fell, Mira Calix, Darkstar, Kaitlyn Aurelia Smith, Sarah Davachi, hailing from London's Union Chapel, ending up also in Amsterdam and Moscow. Organ Reframed will be back this year on September 16--18 with Abul Mogard, Ipek Gorgun, Anna von Hausswolff, Claire M Singer and Cabaret Voltaire's Chris Watson. "The idea of Organ Reframed dates back to 2006 when I was commissioned to write my first organ piece. At the time I was mostly composing in the studio and was struck by the vast breadth of the instrument and how capable it was of creating timbres that were similar to what I was working with electronically. The lush acoustic quality of the sound resonating in the space was incredible and the sonic possibilities seemed endless. I felt so fortunate to have had the time to experiment and explore the instrument and realised perhaps the reason there wasn’t a huge amount of experimental works being written for organ was because they are mainly housed in churches and concert halls so you really need to know someone with a key. From that point on I started composing almost exclusively for organ and since launching Organ Reframed in 2016 I am now able to give fellow artists the opportunity to explore what an incredible instrument it is." - Claire M Singer. Union Chapel's 1877 organ built by master organ builder Father Henry Willis is known to be on of the finest in the world. It is one of very few organs left in UK with a fully working hydraulics (water powered) which can be used an alternative to the electric blowing system. The organ is completely hidden from the listeners allowing to focus solely on the music. Composed by Éliane Radigue. Performed by Frédéric Blondy. Commissioned by Organ Reframed, curated by Claire M Singer. Recorded on 8 January 2020 by Daniel Halford at Union Chapel on the organ built by ‘Father’ Henry Willis, 1877. Mastered by Denis Blackham at Skye Mastering. Distributed by Kudos and Touch. Cover organ photography: Daniela Sbrisny. Manufactured by Monotype Pressing. Designed by Philip Marshall, Berlin, June 2021. This commission was generously supported by Arts Council England, the London Community Foundation/Cockayne, PRS Foundation and SACEM. Designed by Philip Marshall this special edition compact disc is the first in the series of Organ Reframed releases. Packaged in a matt A5/DVD style digipack it also includes a full colour 16 page booklet containing text from Éliane Radigue, photographs of her writing Occam XXV in Paris and of the 1877 Henry Willis organ at Union Chapel. https://organreframed.bandcamp.com/releases	2022	€22.50
RAINEY, BHOB & RALF WEHOWSKY	I don't think I can see you tonight	CD	Schon lange nicht mehr hat man RALF WEHOWSKY (aka RLW) so höchst verzückt abstrakt, sphärisch & dröhnminimalistisch erlebt. Seine Collab. mit BOB RAINEY lebt von sirrenden, flirrenden, kurz unbeschreiblichen Soundeffekten, die in eine Drone-Geäst gewebt werden, dass es eine reine Freude für den brachliegenden Geist ist. Mitunter werden field recordings und benutzte Instrumente erkennbar.. Daneben gibt es eine Fülle von auch sehr konkreten Geräuschen, Wendungen, cut-ups, etc.. hier kann man sich nicht einlullen lassen, diese 3 Kompositionen erfordern (& erzeugen?) höchste Bewusstheit und Konzentration! "The Bhob Rainey/Ralf Wehowsky collaboration overcame many gruelling attempts, musical dead-ends and a five full years to realize its outcome and man, was it worth the wait! Both artists sit firmly in their unique and highly regarded (and earned) musical positions these days and are both truly fearless in attempting and pursuing new musical activities for themselves. Here are three powerful, often hair-raisingly intense pieces that allow no room for complacency on the part of the listener.... at all. Here is what Dan Warburton says in the newly posted February issue of Paris Transatlantic: 'Listen to how the title track emerges slowly from a shell into which fragments of recognizable noises are being sucked as backwards sound files, taking nearly seven minutes to reach the open air, where distant sounds of children at play, footsteps and tiny smears of saxophone multiphonics and all manner of sonic building blocks both recognizable and tantalizingly inscrutable are gradually brought together to construct the musical equivalent of a Gothic cathedral... from where I'm sitting this is one of the most important works of electronic music (or musique concrete, if you prefer) to appear this decade.'" [label info]	2006	€13.00
RAPOON	The Bush Prophet	CD	"We are happy to present you the third Rapoon release on Ewers Tonkunst. “The Bush Prophet” is a brand new album from this legendary and highly influential project, which unique style of blending industrial, ethno-rhythmic and cut-up techniques has gained international recognition and made Rapoon one of the main artists in its genre. This work has an accent on more dark, hard and anxious sound constructions than most of its recent albums, it is full of tension and scepticism, but with no lack of inner hope though. Like it’s last year Soleilmoon release “Melancholic Songs Of The Desert”, it deals with isolationism and the myth of democracy. Manipulated by media and bombarded with political spin we live in a world where our political choices are reduced to almost zero. Faced with a hostile world and lies from every direction is it any wonder that there is a need to retreat to try and find some peace and humanity. The voices on the television make promises and soothing noises then wage unjust wars in our name. The lies fall like honey and nothing changes. These songs are a retreat into the one place that no government has yet found a way into, the free and open spaces of the mind. They are spontaneous and mediative reflections looking for an inner peace in a world made ugly by hatred and war. They symbolize a kind of "walkabout" and a reconnection with a lost sense of belonging spiritually, intellectually and physically with the world we inhabit. The music here looks for a sense of inner being that one can only find in quiet isolation. The release is limited to 500 copies and comes in a stylish digisleeve with artwork by Robin Storey." [label info]	2010	€13.00
	Seeds in the Tide Vol. 4	do-CD	"Zoharum releases the fourth part in the series of RAPOON's archival recordings entitled "Seeds in the Tide". Like the previous three, this album is divided into two parts. In the first one we find songs from the years 2005-2007 from rare, limited releases, various artists compilations plus a remix of Rapoon made by the project Xela. This first disc, almost 75 minutes long, features a variety of recordings presenting Robin Storey's project from different angles.The second disc is a recording of the next concert from Rhiz in Vienna. This time it is a little shorter, only 45-minute-long appearance, very consistent, strongly contrasting with the first disc." [label info] www.zoharum.com	2015	€16.00
	Wanderlust	CD	Winter Light is proud to announce the release of Rapoon ‘Wanderlust' CD, a brand new studio album containing 10 all new and original tracks. Robin Storey aka Rapoon needs no introduction, having released around 60 albums alone under his avant-garde project. Robin has collaborated with many artists over the years and for this release additional vocals for the album have been supplied by the Russian folk singer Tatyana Stepchenko aka TOLOKA. As the title indicates. ‘Wanderlust’ is the endless yearning, the search for questions and for answers, the horizon ever drawing onward with the lure of what lies beyond. The pull of the mountains and the deserts and the infinitive light of the stars, shining from the distant past. We travel….. The album is released in a full colour, 6-panel digipack. Artwork and cover design by Midnight Sun Studio with original paintings from Robin Storey. The CD is comprised of 10 original tracks with a running time of 70:08. Strictly limited to 400 copies. www.winter-light.nl "During the cold and eerie autumn season, the best thing that could happen is a record which could easily transform bad weather and dark emotions into something dreamy and wonderful. Rapoon is a fine example of this dreamy atmosphere, and its new record, Wanderlust, is the biggest gift for anyone who wants to participate in this magical travel through a state of wandering. Wanderlust has been released by a small and obscure Dutch label, Winter-Light. The imprint has released some other releases including two from Seetyca and some other bands. The atmosphere and sound of Wanderlust perfectly describes the goals of Winter-Light as I see them: to spread highly somnambulant music usually in ambient or drone form, refusing anything radical or anything political, instead just focusing on someone else’s dreams or nightmares and exploring that kind of emotion in audio form. The mind of someone sleeping is rather obscure, led by unconscious, filled with many different layers, and Wanderlust is just like that too. It’s hard to simply describe this album in simple terms, but it’s crucial to say that this Rapoon effort is about a lot of things; it’s filled with many elements and every song seems like a different dream. Rapoon One big aspect behind the music of Wanderlust is rhythm. The album starts with a beat which pulses like an ocean and leads to an evolution of cascading samples. The structures behind each individual song seems to remain similar throughout the album, with seemingly only samples driving it to the end. Speaking of samples, it’s difficult to recognize their origins, and that seems to be a good element—to a fault. In that way, samples seem to be much more obscure and strange, which is definitely unique. In other songs of Wanderlust, simple synth melodies are used with an equally straightforward yet effective rhythm, creating a stronger style of that ethereal sound. Sometimes, Robin Storey‘s music even sounds sacred, especially with the addition of classic instruments. In other cases, songs on Wanderlust sound more playfully mystical—almost cinematic in scope, like vintage film scores. Gloomy synthesizer sounds create a mood of desolation. Listening though the album, you get the impression that the whole thing is alternating between elevated emotions, ethereal visions, and genuine melancholy. ‘Calling Ghosts’ is unique to the album as it begins with something similar to female Slavic chanting and works its way into a violin performance, distant samples, and some other instruments. Listening to Wanderlust, it‘s difficult to miss just how varied it really is, which is a quality that unveils itself in its fullest glory through Storey’s patented epic atmospheres, especially on ‘You Look Like Something’, whose twelve-plus minutes are filled with strange ambient artifacts. Rapoon’s Wanderlust is a dreamy landscape full of majestic vibes, strange but suitable samples, and sounds of exotic instruments. Its general atmosphere and the sounds that create it are often so foreign that they feel almost alien in nature—something that Storey is becoming exceedingly talented with at his age. It is the perfect album for this autumn as we work our way into winter, and it‘s intended to be played by a listener every evening just before sleep. The effect of it should be unforgettable." [Heathen Harvest]	2016	€13.00
RAPOON & LORDS OF INFINITY	split	CD	What we have here is almost 70 minutes of beautiful and enchanted music. A great split release between Robin Storey (Rapoon) and Marina Kryzhanovskaya and Mikhail Kiryukhin (Lords of Infinity) hailing from England and Russia respectively. “For this split CD I returned to the origins of processes that had been there in their most fundamental form in Zoviet France. A ritualistic and shamanistic approach to the creation of music. Uncensored by intellect. More spiritual in nature than conceptual. Elemental and primordial. Not that these elements do not exist in my contemporary creation process, more that they are stripped bare in these pieces.” - Rapoon “Behind Russian ritual ambient and experimental project LOI stand Marina Kryzhanovskaya and Mikhail Kiryukhin - the woman and the man, two eternal souls. The main idea is that life is an immersion to the mystery. The main and essential mystic experience is love and creation. Spiritual invocation awakes delight and horror. We believe that music incarnates pan-unity. But whereof one can't speak, thereof one must be silent. Our split is about the eternal marriage of all that exists, flow of the eternally youthful life energy.” - Lords Of Infinity The only thing we can add is that artwork for this was also created and provided by the Artists themselves. CD edition of 500 copies comes in 6 panel digipack." https://zoharum.bandcamp.com/album/split-2	2021	€12.00
RATKJE, MAJA S.K. / JON WESSELTOFT / CAMILLE NORMENT / PER GISLE GALAEN	Celadon	CD	"A record of slowly evolving beauty that gradually unravels its meditative design. Recorded in Norwegian sculptor and painter Emanuel Vigeland' s (1875 -1948) mausoleum in Oslo in 2013. A recording space that is famous for its acoustics and its long and full-sounding reverb. These three tracks utilize both the delicacy and the power of acoustic instruments and human voice in relation to the unique recording space. This is a record that is otherworldly and eerie but also with a great primal expressive force. Performed by four artists from different backgrounds coming together to create this singular set of music. Maja S.K. Ratkje - Voice and Bells. Jon Wesseltoft - Accordion Organ and Harmonium. Camille Norment - Glass Armonica. Per Gisle GalŒen - Zither and Harmonium. Recorded at Emanuel Vigeland Mausoleum May 2013 by Thomas Hukkelberg. Mixed and mastered by Maja S.K. Ratkje." [label info] www.importantrecords.com	2015	€16.00
REED, STAN / GREGOR JABS / FRANK ROWENTA	Apoplexia 1973	CD	Schon fast sowas wie ein geräuschmusikalisches Hörspiel über Schizophrenie, ein einziger verstörender Psychotrip! Interview-Stücke mit Psychiatrie-Patienten (von 1973) werden verwebt mit Bombardements von akustischen "Alltagswelt"-Informationen, TV, Film & Radiofetzen & Musikphrasen, vokales Material, und elektronischen Sounds, alles heftigst effektiert und übereinandergelegt zu einer überwältigenden Schizophonie, die das Wesen dieser Krankheit spürbar & erfahrbar macht! "Based on the reel to reel tapes from Klinischen Anstalten Aachen from 1973, this collaboration explores the intimate nature of several patients diagnosed with schizophrenia and their journey through the surreal mental landscape that a diseased mind finds itself lost in so many times. Interviews with patients are woven into dreamscapes of sound, some nightmarish, others almost childlike. Ironic samples scattered throughout the work create a beautifully disturbing listen. What movies will play in your own mind? What voices will speak to you from the inside? Stan Reed is the owner of PsychForm Records & PsychoChrist Productions. His own recording projects include PLETHORA, The Broken Penis Orchestra, The Broken Human Machine, and Blue Sabbath Black Cheer. Gregor Jabs is a new and upcoming German sound artists who records with the psychedelic outfit known as Grillhaus. His first solo CD, Stamen, is also now available on Jeans Records. Frank Rowenta has been involved with surreal sound projects since the early 90's. He is one half of the super group Rowenta/Khan, formed Grillhaus with Mr. Jabs, has recorded several solo CDs and has now started the Jeans Records label out of Aachen Germany, which promises to yield many more audio oddities in the future" [press release]	2006	€13.00
REHBERG, PETER	Peter Rehberg at GRM	LP	Shelter Press and INA grm are pleased and moved to present two previously unreleased recordings of Peter Rehberg, two live performances given at the GRM which, each in their own way, vividly illustrate the extent of his sonic palette. On July 22, 2021, Peter Rehberg passed away, leaving a great emptiness in his wake. Many initiatives have already celebrated or will soon celebrate his memory and the titanic work he put at the service of so many artists - a whole musical community, in fact -- through Editions Mego. INA grm, Shelter Press and Stephen O'Malley, who are continuing some of the collaborative Editions Mego sub-labels (Recollection GRM, Portraits GRM and Ideologic Organ), wanted to pay tribute more specifically to the musician Peter Rehberg, and to his immense talent. Peter Rehberg, as an artist, has collaborated with the GRM on numerous occasions, both with Stephen O'Malley (as KTL) and solo. This release features two concerts given for the GRM, each time as part of the Présences électronique festival. The first concert, given on March 15, 2009 at the Maison de la Radio in Paris, marked the first collaboration between Peter Rehberg and the GRM and the beginning of a long and fruitful friendship. The second concert took place on March 6, 2016. Between these two concerts, seven years have passed, seven years in which the ties between Peter Rehberg and the GRM have been strengthened, seven years in which Peter Rehberg's music has flourished. What is striking in these two concerts is how Peter Rehberg's unique musical sensitivity and "grammar" can be heard beyond the instruments. For while the first concert is pure laptop music, the second is extended to the field of modular synthesis. However, in both concerts, the elements that are so personal to Peter Rehberg's music are present and combine in a layering of sonic abrasions, raw sensations and a sensitivity that is as much about formal awareness as it is about the invocation of overwhelming emotions, even though a little hidden behind a radicality that is always a bit provocative. Peter Rehberg offers us a "portrait music", a music that gives some clues about the personality of its author and whose absence continues to deepen an inconsolable sadness. A1. at GRM (2009) (21:24) B1. at GRM (2016) (17:33)	2022	€20.00
REPTILICUS & HAFLER TRIO	Designer Time	LP	The first-ever vinyl reissue of this epic collaboration between industrial experimentalists from Iceland, Reptilicus, and The Hafler Trio. Designer Time was originally released 1994 on Staalplaat as a CD release. This new version is remastered and pressed on white vinyl. Reptilicus (Guðmundur I. Markússon and Johann Eiriksson) met industrialist extraordinaire and only constant member of The Hafler Trio, Andrew M. McKenzie, in 1991 when he was visiting Iceland with artist Carl Michael von Hausswolff. This was the beginning of a fruitful collaboration which lasted for several years. During this period, McKenzie moved to Iceland where he lived for over a decade, having a considerable influence on the Icelandic experimental and electronic scene, among them artists such as Curver and Johann Johannsson. In the beginning of 1992, Reptilicus found themselves with McKenzie in a huge freezing chamber of a derelict slaughterhouse (which was later to become the lodgings of the Iceland Academy of the Arts). They were accompanied by Indriði Einarsson of electro-performance pioneers Inferno 5. In the freezer, they recorded various sounds that were later subjected to sampling and software manipulation. The results, which combined a layering of noise, ambient and rhythm with a pinch of the unforeseen, were released on CD by Dutch label Staalplaat in the beginning of 1994 under the joint names of Reptilicus and The Hafler Trio. The title, which is a pun on “designer drugs”, refers, on the one hand, to the idea of a form of time that is designed, artificial, and man made, and, on the other, to the genres of mood, easy-listening and muzak, as is evident from the sleeve design. Reptilicus continues the band’s collaboration with Toronto-based Artoffact Records, who are no stranger to the Icelandic music scene, having released records from Kælan Mikla, Sólveig Matthildur, Legend, and other Reykjavik-based artists. Artoffact released Reptilicus’ Unison in 2018. Designer Time will be reissued on Vinyl, CD, and digital formats on June 4th, 2021. https://artoffact.com/releases/designer-time/	2021	€23.00
REUTOFF	No One's Lullabies	CD	"No One's Lullabies" is the 9th album by Reutoff, one of the best-known Russian projects on the international post-industrial scene. Over the course of one hour they will be performing their "lullabies" which won't let you sleep though... The whole panopticon of borderline mental states will unfold before the eyes of our attention. Every track is a masterfully performed decadent dance of emotions and feelings. Steady industrial rhythms, an unhasting but assertive semi-drunk waltz, circus-like grotesque with wicked medieval shades, comatose jazz swinging in dark tones and epic electronic doom that could also fit well in the repertoire of their brother-project Otzepenevshiye - all imbued with remarkable spirit and slightly inflamed imagination. The material entitled "No One's Lullabies" was initially produced as a cassette mini-album by the German label Sea State in 2014 in a small edition of 80 copies in unconventional handmade packaging. The extended version with four additional compositions was put out by Reutoff on their bandcamp page as a web-release. Now we're glad to present the CD version of the album for the happy owners of CD-players and optical drives! The CD-edition contains an exclusive bonus track with a live version of one of Reutoff's rare compositions. The disc is packed in a matte 4-panel cardboard digisleeve, artwork features paintings by Fabrice Billard, the chef of Divine Comedy Records. http://zhb.radionoise.ru/ "If someone were to ask me, which post-industrial artist gives you the biggest pleasure when you listen to their music, I would never mention Reutoff. If somebody else were to ask me which project is in my opinion the most daring in its experiments or simply the most innovative in the scene, Reutoff wouldn’t be my pick either. But if you were to ask me about the musician who combines experimental with so-called “catchiness” the most effectively, well, I’d have to think about mentioning this Russian duo. They’ve been active for about 18 years, releasing a variety of materials, also in collaboration with other artists in their famous Kreuzung series: a collection of names such as Deutsch Nepal, Troum or Der Blutharsch. “No One’s Lullabies” was originally released on tape, thanks to the Sea State label from Leipzig. Zhelezobeton gives us an extended edition on CD, with five additional tracks and a cover image painted by Fabrice Billard, the owner of the Divine Comedy label. For many years Reutoff’s line of work and constructing additional sound structures has more or less been the same. They take a nicely crafted industrial background, a mid-tempo rhythm theme, often looped and encrusted with other trinkets and little diamonds, so that most of the tracks possess a slowly yet nicely building tension that leads to a culmination, abundant in sounds and atmospheres. Not all of the tracks though: Reutoff is not a project that always chooses the easy and proven ways – check this splendid dark ambient of a non-obvious feeling in “Nameless Tune With No Fate”. This is also one of Reutoff’s huge advantages. That you can’t describe their atmosphere in one or two words. You need to build the whole story in your mind, different for each track. It may be dystopian sci-fi straight from Orwell or Bradbury novels; a dark yet epic, sometimes even strangely romantic story, similar to, say, “Blade Runner”. After all, titles like “New World Disorder” or “Requiem for Android” cannot be a coincidence. On the other hand in some track you may notice a somehow optimistic… no, not a good word – a note that breathes with hope. Saying that not everything is lost, that there are still new and mysterious worlds to explore even though our planet is lost. I feel this modern sci-fi element is pretty solid in Reutoff’s works, which is even more interesting considering the fact that when it comes to technical matters a strong analogue vibe emanates over the whole of “No One’s Lullabies”. This is specific for many post-industrial artists coming from Russia, that while they’re faithful to classic samplers and synths, they’re able to achieve such a fresh effect. Reutoff, Cyclotimia, Sal Solaris, some Cisfinitum efforts. This offering is no different, and once again provides us with a certificate of the uniqueness of the Russian post-industrial scene." [Stark/Santa Sangre mag]	2015	€13.00
REVERSE IMAGE + THOMAS BEY WILLIAM BAILEY	Tokokawa	CD	Composed from 2023 to 2024, these three pieces present a deep dive into the murky and turbulent world where analogue electronic sound sources are driven hard and without mercy into an entirely contemporary setting that's at once commanding and convoluted. Vast torrents of apparently untamed noise are reshaped alongside iridescent whirrs, metallic scrapes, shimmering tones, space flotsam, deep well chimes, front line pulses and heaving hums over the course of three magnificent pieces that pull confrontational music inside-out to expose a kind of ravaged beauty. Tokokawa is the result of two very unique artists pulling together to share a vision mercilessly singular yet possessed of an ability to communicate far beyond as it stakes its claim to its own place on the map of sonic abstraction. Malaysia's Reverse Image also released the excellent debut The Silence That Does Not Exist CD in mid-2023, plus founder Siew Y'ng-Yin used to operate the renowned Mirror Tapes imprint. Early 2024 also saw the release of the debut Beyond the Flat Earth CD by her fiery and intense electronics project Fallen Sun. Thomas Bey William Bailey, meanwhile, has released numerous cassettes and CDs since his debut Strangelet album in 2009 and has collaborated with many artists since, including Susana Lopez, Rick Reed, Leif Elggren, and others. His most recent album, Metaphysics of Autonomous Shadows, appeared in 2023. He is also known for having had books published, including the recent Sonic Phantoms co-authored with Barbara Ellison on Bloomsbury. Tokokawa is limited to 300.	2024	€13.00
REX ILUSIVII	Disillusioned!	LP	Mitar Subotić Suba (Rex Ilusivii) was one of the most prominent ex-Yugoslav producers and sound artists. His work encompassed not only successful production on some of the cult ex-Yugoslav records, but also works in the field of music for theatre, experimental electronic music, and installations. After moving to Brazil in the 1990s, he further explored his interest in local culture and released his essential work "São Paulo Confessions". Almost at the same time, he produced "Tanto Tempo", a seminal record by Bebel Gilberto, shortly before his tragic death. "Disillusioned!" is his first work, released in 1987 during his formative years in Yugoslavia, when he worked under the pseudonym "Rex Ilusivii". Occasionally leaving tapes of his sound experiments at the door of the local radio station, he unconsciously paid tribute to the collective "The Residents". This dualistic record contains his unique approach to pop forms and his sound interventions over selected early piano works of Erik Satie (the piece "Thnx Mr. Rorschach", performed by Branka Parlić - see GOD 74). Even today, this is considered an unorthodox method of blending two fundamentally different forms and sound aesthetics. . After almost 40 years and being long out of print, the record has a reputation of a cult achievement. GOD Records and Fondacija Mitar Subotić Suba are very happy to present the restored and remastered recordings of this essential work, for the first time containing the restored integral version of the piece "Thnx Mr. Rorschach - 10 ambients over music of Erik Satie", which was shortened on the original record due to the time limits of vinyl. The release is also accompanied by an 8-page booklet with essays from Suba's friends and collaborators. . Double Gatefold Vinyl + 8 pages booklet https://godrec.com/god78.html	2025	€35.00
REYNOLS	Fire Music Reloaded	CD	Fire Music Reloaded, by REYNOLS Fire Music was composed by Reynols in 2002 with fire recordings made at Tigre (Río Capitán) and different locations in Buenos Aires city and around. With some of this material, a CD EP appeared in Japan in 2002 through the Digital Narcis label, however the complete version of this piece remained unreleased for decades. In a recent research the masters of the whole work were found and rescued from the group's archives. So twenty years later, finally the full version of this piece is now ready to see the light on a brand new CD album carefully released by German label Aufabwegen. Fire Music Reloaded stands on the most conceptual side of Reynols' catalogue, along with works such as: 10.000 Chickens Symphony, Whistling Kettle Quartet, Computer Music, Gordura Vegetal Hidrogenada or Blank Tapes. In its four parts journey, the group explores a wide range of frequencies coming from fire as the only sound source. A release which pays tribute to the igneous aurality. Let your ears get on fire! REYNOLS Reynols is one of the most notable experimental music groups to ever emerge from Argentina. The band started in 1993 in Buenos Aires and was formed by Miguel Tomasín, Roberto Conlazo, Pacu Conlazo and Alan Courtis. The project counts over 150 releases by labels from Japan, Europe, USA, Oceania and Latin America. Reynols has been tagged as a “cult group” by British magazine The Wire, while the French festival Sonic Protest proclaimed it as groupe phare (lighthouse group) of inclusive music. Throughout 2003, Reynols occupied the 1st place on the “Top 10 Downloads” section of former website Space-Rock (UK). A year later, their song “Manisero Mufuso” was #1 on Larry “Fuzz-O” Dolman’s Blastitude Top10 (USA). Japanese magazine Studio Voice included Reynols’ album Barbatrulos in their “Best 100 Western Alternative Music Records” ranking, and Reynols/No Reynols among the “300 Legendary Discs” of all times, while The Wire ranked their boxset Minecxcio Emanations 1993-2018 in their 2019 Top50.Reynols has appeared in countless exhibitions, radio shows, TV shows, magazines, newspapers, books and documentary films from around the world. Reynols has collaborated live and in studio with acclaimed artists such as Pauline Oliveros, Lee Ranaldo, The Nihilist Spasm Band, Damo Suzuki, Paul Dutton, John Oswald, Michael Snow, Alan Licht, Birchville Cat Motel and Acid Mothers Temple, amongst others https://aufabwegen.bandcamp.com/album/fire-music-reloaded "Die aus Argentinien stammende und seit der ersten Hälfte der 90er aktive Band Reynols hat ein umfangreiches Werk veröffentlicht, das zwischen Stilen und Genres hin- und herspringt: Von skurillem Noise-/Anti-Rock bis zu Drone. Das jetzt auf Auf Abwegen erschienene Album „Fire Music Reloaded“ ist eine vollständige Version der 2002 auf dem japanischen Label Digital Narcis Corporation,. Ltd. erschienenen 20-minütigen EP „Fire Music“. Vielleicht spielt die sehr niedrige Auf Abwegen-Katalognummer auf das Alter der Aufnahmen an. Reynols bearbeitete -wie der Titel vermuten lässt – den Klang von Feuer; insofern knüpft diese Veröffentlichung mit der Konzentration auf ein Ausgangsmatrial an die „10.000 Chickens’ Symphony“-7” auf Drone oder etwa „Whistling Kettle Quartet“ an. Der erste kurze Teil mit seinem helllen und transparenten Klang lässt einen denken, ein knisterndes Feuer brenne im Raum und hier wirkt das Ausgangsmaterial (scheinbar) wenig bis gar nicht bearbeitet. Teil 2 dagegen ist eine dichte wie verdichtete Klangwand, in der man zwischendurch immer wieder das Knistern von Flammen hört. „Fire Music Part III“ ist wieder fragiler, hier lässt das Knistern der Flammen an einen Gang durchs Unterholz denken oder an das Zirpen von Zikaden. Darauf folgt Teil 4 als dunkles Dröhnen und Brummen: das ist ein zähflüssiger Klangsud, so als lausche man dem Ächzen eines Gletschers und man fühlt sich durchaus an den frühen Thomas Köner erinnert. Die neun Minuten von „Fire Music V“ sind hektisch, während Teil 6 das Album fast schon mit einer Art Noisestück beendet: Der Track ist eine Kakophonie, bei der man sich vorkommt, als stünde man in einer Turbine. Diese nun vollständige “Fire Music” ist sowohl in ihrer konzeptionellen Konsistenz als auch in ihrer (zumindest partiellen) Heterogenität beeindruckend." [MG / African Paper]	2022	€13.00
RIEK, LASSE-MARC	Schwarm	MC	"It is our pleasure to present the latest piece of work by Lasse-Marc Riek, a master of field recordings and one of the most distinguished sound artists of our times. We’re following his output for a good ten years now - both his own recordings of bats, birds, snow dogs, islands or harbours, and the countless releases he produced for his (and Roland Etzin’s) outstanding Gruenrekorder label which became probably the most important adres for the art of field recordings. The source of the „Schwarm“ („swarm“) pieces were recordings of a flight corridor Riek made last year in Hanau-Steinheim, near the Frankfurt Airport. He cut and wove them into two 30 minute tracks which are charaterized by a very specific, at the same time documentary and surrealistic, beautiful and uncanny quality. Mindblowing stuff. edition of 80 copies, with download code." [label info] www.magdeleinebast.com	2015	€10.00
RIPIT	Tsatsa Tushen	12inch	For ‘Tsatsa Tushen’, Ripit created four trance-inducing tracks of swampy industrial dub music, using vinyl loops of ethnographic African recordings, modular synths and intense dub-mixing. The general smokey atmosphere is generated by the collision of several unsettling rhythm layers, scattered echoes, crawling basses, raging stabs and drowned-out voices, guiding the listener on a unstable path towards a dissociative rite. It should come as no surprise that Ripit releases these tracks now, as dub music has always been a part of his musical heritage. Not just in his work with Fujako, but also in his prolific early years in the late 1990s, you’ll find obvious links to dub. Hence the title, which means ‘knots of time’ in the main West-African language Hausa. ‘Tsatsa Tushen’ combines the old with the new, the dusty ethnographic records with modern electronics, bending the time and space continuum in a noisy Dub. Since the 1970s, dub and industrial music find their common ground in the recycling of found sounds and in exploring electronic tools. Adrian Sherwood’s On-U Sound blended Dub with diverse emerging musical influences and industrial artists explored diverse forms of music, their paths regularly crossing. Ripit merged these influences and philosophies in this record. Think of dusty-needled, hand-driven turntables playing sun-bent vinyls such as African Head Charge’s ‘Songs of Praise’ Muslimgauze’s ‘United States of Islam’, Test Dept’s ‘Critical Dub’, Badawi’s ‘Jerusalem Under Fire’ or The Bug’s ‘Tapping The Conversation’. 12” limited to 300 copies All tracks by Nicolas Esterle at Zen666 2014-2015 Mastered & cut by Frederic Alstadt at Ångström Mastering Images by Eric Desjeux Design by Silken Tofu	2017	€15.00
RISHAUG, ALEXANDER	Shadow of Events	LP	"Rishaug's music is informed by classic minimal composers such as Steve Reich and Terry Riley as well as 90's electronica acts such as the Oval/Microstoria axis and like-minded but more obscure artists associated with the Mille Plateaux label (remember Neina?) but surely wouldn't be out of place on a contemporary label like Kranky or Type. Repetitive and seemingly simple melodic patterns are combined with (and sometimes obscured by) decaying monlithic drone layers creating a hazy melancholic landscape slowly unfolding its beauty. Granular shoegazy tones are building up in slow-motion recalling the patient yet precise and complex drone works of Stephan Mathieu, William Basinski and Machinefabriek's Dauw album." [label info] www.dekorder.de "A contender for album of the year status in my opinion; truly engaging and explorative, this is a refined and immersive work." (Future Sequence) "Shadow Of Events ist jetzt bereits das Ambient Album des Jahres 2011!" (Auf Abwegen)	2011	€13.00
RIVULETS	You are my Home	CD	"Long-delayed 3rd album by internationally acclaimed solo artist Rivulets. Featuring guests Jessica Bailiff (Kranky), Chris Brokaw (Codeine, Come, the New Year), Christian Frederickson (Rachel's), Fred Lonberg-Holm (Boxhead Ensemble), & Bob Weston (Mission of Burma, Shellac). The contributions of these remarkable musicians adds snowy layers of wintery texture to Nathan Amundson's beautiful recordings. Like Nick Drake smothered not with layers of orchestration, but subtle textures to truly compliment the mood of the album. Rivulets is the project of minimalist singer-songwriter Nathan Amundson. Born in Colorado, Amundson grew up in Alaska before leaving home at age 16 and moving frequently throughout the United States. He started performing as Rivulets in 1999, and currently resides in Bloomington, IN. Rivulets is a prolific songwriter, with releases out on several labels, including Acuarela, BlueSanct, Silber, and Chair Kickers'' Union. This is Rivulets'' 3rd full length album, and 1st for Important Records. Rivulets'' first 2 full-length albums, r i v u l e t s (2002) and Debridement (2003), were both recorded by Alan Sparhawk of Low, and released on Low''s own label Chair Kickers'' Union. These albums feature guest appearances from the likes of Jessica Bailiff , LD Beghtol (Magnetic Fields), Jon DeRosa (Aarktica), Marc Gartman (No Wait Wait), Brian John Mitchell (Remora), Aaron Molina (if thousands), and Mimi Parker (Low). Extensive touring overseas has garnered Rivulets intensely loyal fanbases across Europe. We''re hoping this, Rivulets 1st album on Important records, will help the US to take notice as well. A few of the artists Rivulets has shared bills with in the past include: Haley Bonar, Chris Brokaw, Cerberus Shoal, Cocorosie, Mark Eitzel, Daniel Johnston, Low, Mirah, My Morning Jacket, the New Year, Scout Niblett, Piano Magic, Radar Bros., Stars of the Lid, Songs: Ohia, Swearing at Motorists, Willard Grant Conspiracy, Shannon Wright, and Xiu Xiu. Rivulets'' discography also includes numerous compilation appearances and several EPs: the aforementioned Thank You Reykjavik EP on BlueSanct; The Alcohol EPs on Silber; the Rivulets / Marc Gartman split CD (featuring Jarboe of Swans) on Tract; and the You''ve Got Your Own EP on Acuarela (the bestselling EP Acuarela have released, out-selling EPs by the Album Leaf, the Clientele, and Tara Jane O''Neil!). This is not a folk album. This is an album about hearts breaking, tearing it down, and moving on." [label info] www.importantrecords.com	2006	€13.00
RLW	Views	CD	Dronig-verwirrende Soundscapes, konkrete Geräusch-improvisationen, feedbackende Kakophonien... Material von 2003, das RLW eher von der verspielt-improvisatorischen Seite zeigt.. "In the 25th year of Ralf Wehowsky's recording career, Anomalous Records presents his first truly solo release featuring four new compositions based on instrumental improvisations. Using simple devices (tone-generators, percussion toys, music boxes, an electric toothbrush and an electric guitar) played in unusual ways, he builds up layers of each sound to create a suite of textural pieces. Each of the four tracks takes on an identity unique from the others, as the first three each focus on one of the sound sources while the last combines elements from the previous three to make something else. The disc opens with a 20-minute piece of mysterious and drifting electronic tones. Other tracks highlight very tactile sounds and bring a much more 'live' element to his work, while retaining his skillful use of dynamics and placement of silence which have gained him so many fans. Previous releases by RLW have seen him collaborate with such diverse artists as Achim Wollscheid, Bernhard Günter, Andrew Chalk, David Grubbs, Jim O'Rourke, Kevin Drumm, and Bruce Russell. He is the founder of the now defunct group P16.D4 and the label Selektion." [label info] www.pogus.com/anomalous “There was a time when RLW, which stands for Ralf Wehowsky, was a buzz name. From his previous band P16.D4, he developes since the mid nineties a strong solo career aswell as many collaborations with people like Jim O'Rourke, Kevin Drumm, Bernard Gunter, Duimelinks/Meelkop. But in more recent years his release schedule was less hectic and now we have 'Views'. Everything on this CD is made by RLW with no input from anybody else. His source material includes tone-generators, music boxes, toys, electric guitar and toothbrush. Each of the four pieces here consist of RLW improvising three or four times his sounds on to the computer, and creating a mix afterwards. In the opening piece, '#1' he only uses tone generators, by which he creates quite densely layered patterns, that come in quite a chaotic way at one point - unlike much other RLW material. In '#2' he uses the Orff instrumentarium (percussive instruments for children), which he jams around and this is much more his territory: carefully hoovering on the edge of silence. Something similar goes in '#3', but here it deals with the hallucinating simplicity of music boxes. These two quieter pieces are the total contrast of '#4', which uses various feedback recordings of the two previous tracks and some added guitar sounds - a fiery noise piece, which is again an unlike RLW piece. Quite a strong CD, with some surprises for the RLW devotee. Moving inside aswell as outside of his usual music, this is quite a step forward. [FdW, Vital weekly]	2004	€12.00
	Contours Imaginaires	10inch	RLWs Beitrag für unsere Reihe über das 'Unsagbare' benutzt als Klangquelle nur ein kurzes Piano-Extrakt mit Stimme, aus welchem dann drei Stücke sozusagen re-fragmentiert werden, die intensive und hochspannende Trips in RLWs "Imaginäre Konturen" ermöglichen... Titel & Klangmaterial stehen dabei in komplexen Inter-Relationen, sehr emotional & tief gehende Sounds und ein ausgefeiltes Konzept stehen hier wieder in einer perfekten Balance. Das ganze auf gelb-orangenem Vinyl mit ungewöhnlicher Textur, das Cover kommt vom Oldenburger Artworker OLIVER JAKOBI. "After a break SUBSTANTIA INNOMINATA is back with a terrific 3-track 10" by the prolific german composer RLW (who started his activities back in the early 80's and was the main member of the legendary german experimental outfit P16.D4). The full title is: CONTOURS IMAGINAIRES. The whole composition is based on only few seconds of piano-sounds and vocals (the rest is "imagination") and the track-titles & pieces offer strong inter-relations in a complex way. The used sounds develop through imagination & decay ("denaturing transformations") and appear in the pieces with different emphases. The "classical" piano-sounds and its highly processed permutations are set in contrast with the highly emotional voice-material, like entering a convoluted labyrinth of voice-frazzles, drones & fragmented strange sounds...... Being on a microlevel ("phantasized cell"), judging the decay of shadows. Are these the memories of single cells? The shadow of abrasion-processes? The slow decay of imaginations? A fantastic work where conceptual thoughts and emotionally driven acoustics merge in a perfect way. 500 copies, colour-vinyl, full colour artwork by Oliver Jakobi" [label description] "Drone Records, best known for a long line of drone 7"s, started already a while ago with a new series: Substantia Innominata, in which artists deal with the unknown, in whatever way they feel ('unnameable, unspeakable etc). For someone who likes his imagination go wild, Drone Records made a fine decision in choosing RLW to be part of the series. On the cover it says 'built from a few seconds of piano and vocals. Everything else: imagination'. Quite right. Good music is like a good movie: you create images that might not be what they seem to be. And musique concrete, since this is what is primarily the concern of RLW, is always a good way of imaging. You hear music, which could be voice, which could be piano, but then it could also be something else. Deceiving music. That is what RLW does best. In none of the three pieces it's easy to determine what the original sound is, or how it was treated. No doubt inside the bits and bytes these days (unlike the good old days of four track and reel to reel, where RLW learned the trick of the trade) things are transformed to such an extent that your imagination is free to run wild. It makes a movie in your head. For me an abstract movie, of squares and circles, using only a few colors and they spiral around, bounce off screen and back in. And no doubt it might be something entirely different for someone else. A great record. One that leaves more space to guess than some of the work RLW has recorded in the past, usually with others. His solo work goes out to no man's land more, which is great." [FdW / Vital Weekly] "Die A-Seite dieser 10″ wird beherrscht von kontemplativen Stromwerken, besinnnlich hin- und herlappend, bis am Ende Wut auszubrechen scheint und seltsame semantiklose Verzerrungen dem Schrei irgendeine Weisheit versagen. ‘Ombre d’érosion’ heißt der Track passend. Die B-Seite beredet sich während ‘Cellule Imaginaire’ weitaus angestrengter, wenn auch unbehaglicher. Stetiges Zellteilung mag nicht immer erwünscht sein und kann offensichtlich höllisch wehtun. Das abschließende ‘Erosion d’imagnaire’ zerbröselt Vorstellungskraft in Hilfeseufzer, schwärmende Painosaiten, Radiofehler bei minimalen Rauschzuständen. Fantastisches Vinyl ! Übrigens: RLW ist Ralf Wehowsky aus Mainz, ohne Frage einer der wichtigsten zeitgenössischen Elektroniker." [Ed / De:Bug]	2007	€12.00
	Fall Seliger Geister	CD	"We are proud to present the stunning new album by Ralf Wehowsky. He is currently one of the most respected electronic composers of our day. Ghostly creaking sounds mix with highly complex electro-acoustic and electronic sounds. This description may sound familiar, but no sound is what it seems and rlw always manages to stay far ahead of his contemporaries. His music is impossible to pigeonhole into one simple bracket. It is neither industrial or musique concrete, nor computer music nor improvisation. In fact it could be all of these. A rewarding release that will still sound fresh and relevant in years to come. Ralf Wehowsky was one of the founder members of the seminal German group P16.D4 and the label Selektion whose ground breaking releases influenced many working in today's experimental music scene. Previous releases have seen him collaborate with such well known and diverse artists such as Merzbow, Bernard Gunter, Jim O'Rourke, Achim Wollscheid and Lionel Marchetti. Ltd to 500 copies, the CD comes packaged in a Japanese mini LP style sleeve with textured reverse board printing and black inner sleeve." [label info] www.dirter.co.uk "Oddly enough, the latest RLW CD is on Dirter but co-released by Black Rose Recordings, which happens to be the Contrastate label, but they aren't co-releasing their own release. For a moment I thought that things might have slowed down for RLW, but a quick look on discogs proved me wrong: Ralf Wehowsky is as active as always. Following that great P16.D4 set I hoped I could find time to play some of the RLW stuff again, which I collected, but sadly this has to wait. But of course then there is this new one. I am not sure if I would regard myself an expert on the work of RLW (or in fact of someone else for that matter), even when I heard a lot of his music. For starters, it's not easy to define his music. It's a lot of a lot of things. RLW gathers his sounds somewhere inside and outside the house, playing instruments like cello or trombone (at least that's what I think), children playing outside and taping sounds in the kitchen. All of that is brought into the computer and treated in some way, and then it reaches it's final composed state. So RLW's music could be called electro-acoustic, musique concrete, improvised and/or field recordings, yet it's never exclusively one of these, but rather a curious mixture of all of these. The improvised element, in case you wonder, is made up using extensive blocks of sound from instrumental passages, like said celli, trombone or thumb piano. Here it seems as if RLW recorded a whole bunch of those and then in the process of mixing decided which parts he really needed. By adding all the other sounds and the close mixing of the total amount of music, he creates some excellent dense soundscapes. Dense and moody, in fact, as the overall tone seems a bit darker than before. Excellent release indeed. Damn, I wish I had more time to go back to his older work." [FdW/Vital Weekly]	2013	€13.00
	Flurry of Delusion	CD	"Haptik und Automatik wirken quasi 'Hand in Hand' und erzeugen eine ins Anästhetische tendierende Schrumpfform von Melodie und Rhythmus. Oder einmal anders gesehen, sie schaffen eine Vor- und Urform dessen, das einmal Musik gewesen sein wird." [Bad Alchemy #92] "The starting point for these new recordings was an improvised recording session with Giuseppe Ielasi, but as with all RLW works nothing is quite what it seems to be. Cutting out the moments of "glory" and recombining them Wehowsky reassembles them into new more detailed compositions. Further improvised sounds were treated and added to the mix. The result may seem like an authentic representation of a real time improvisation, but in reality the pieces are nothing like that...in fact nothing is quite what it seems to be. His music is impossible to pigeonhole into one simple bracket. It is neither industrial or musique concrete, nor computer music nor improvisation. In fact it could be all of these. Ralf Wehowsky is one of the most respected electronic composers of our day and was also a founder member of the seminal German group P16.D4 and the label Selektion whose ground breaking releases influenced many working in today's experimental music scene. Previous releases have seen him collaborate with such well known and diverse artists such as Merzbow, Bernhard Guenter, Jim O'Rourke, Achim Wollscheid and Lionel Marchetti. The CD is limited to 500 and is packaged in a beautiful full colour digipack on reverse board." [label info]	2016	€13.00
	Agnostic Diaries	CD	"The common factor linking these recordings are projects that were never fully realized. The basic recordings started in 2005, however the period of reworking and transformation (2016 to 2017) is more important. All vocal parts and general revisions were done during this period. Agnosticism was the basic idea for the vocal/musical re-working of the pieces with the vocals implanted into the basic pieces, not just as simple overdubs, but inserted in a dialectical confrontation with the basic sounds and structures. "Le Ballet" relies on George Antheil's Ballet Mecanique; "For Gerald" on a co-operation with Anla Courtis using some sounds by Ovary Lodge planned for the Gerald Jupitter-Larssen series which stopped far too early. "Without M.B." includes RLW's parts for a collaboration with Marc Baron whilst "Monotype #6" includes vocals by Dylan Nyoukis, also used for a collaborative CD-r with him. Ralf Wehowsky is one of the most respected electronic composers of our day and was also a founder member of the seminal German group P16.D4 and label Selektion whose ground-breaking releases influenced many working in today's experimental music scene. Previous releases have seen him collaborate with such well known and diverse artists such as Merzbow, Bernhard Guenter, Jim O'Rourke, Achim Wollscheid, and Lionel Marchetti. His music is impossible to pigeonhole into one simple bracket. It is neither industrial or musique concrete, nor computer music nor improvisation. In fact, it could be all of these." [label info] "There was a time when Ralf Wehowsky was very active when it came to releases under the alias of RLW. In the last decade that seems to have slowed down. The last new one I heard was his LP with Paak (Vital Weekly 1047). Wehowsky was, in the 1980s, one of the main people behind P16.D4, a highly influential group coming from the world of 'industrial music' but crossing over to musique concrète. Since the early 90s, he works solo as RLW, using the computer to work and rework sounds and collaborating with many others, such as SRMeinxner (his label boss here), Paak, Das Synthetische Mischgewebe and others. The music on 'Agnostic Diaries' was recorded in 2016 and 2017 but started back in 2005; it is an album to complete things that were not yet completed. Among those who delivered sounds for this, we find Anla Courtis, Ovary Lodge, GX Jupitter-Larsen, Marc Baron and Dylan Nyoukis. Throughout these six pieces, voices seem to play one role or another. The music of RLW is best explained as organized sound. You load everything you have, basic material, processed versions (analogue, digital) thereof, onto the computer and through a lengthy process of editing and erasing, filtering and cutting, adding effects and so on, until there is a narrative, a composition. It is not easy to say why something works, and something else, perhaps, doesn't work. I guess that is part of being great at what you do and RLW is among the best in this field. With the excellent variation between pure electronic sounds, acoustic sounds and voices (which are, of course, also acoustic) a fine, delicate interplay emerges that makes up these six pieces. In the opening piece, 'Le Ballet' (which relies on George Antheil's 'Ballet Mecanique'), there are some very high and piercing tones, which made me reach for my remote control, but in his other pieces that don’t happen. The dynamics between 'loud' and 'quiet' is something that RLW plays with, along with hard cuts in the music. Yet, it seems as if all the sounds come naturally out of the previous, a logical extension if you will and that makes up for some great music. Upon repeated listening, there is every time something new to be found in this." [FdW/Vital Weekly]	2021	€13.00
	Satanic Inventions	CD	!!! Limited to 200 copies only !!! 51+ min. playtime October 2022 PRESS RELEASE Artist: rlw (Ralf Wehowsky) Title: Satanic Inventions Track Titles: 1. Early Symptoms 2. Normality, Lost # 1 3. Overworn With Watching # 1 4. Fever Glazed Thine Ears # 1 5. Fever Glazed Thine Ears # 2 6. Normality, Lost # 2 7. Fever Glazed Thine Ears # 3 8. Overworn With Watching # 2 9. Normality, Lost # 3 10. Overworn With Watching # 3 11. Overworn With Watching # 4 12. Normality, Lost # 4 13. Fever Glazed Thine Ears # 4 14. Overworn With Watching # 5 15. Out Of Joint Format: CD Cat no: BRCD 22-1021 Release Date: October 2022 Black Rose Recordings are proud to present the stunning new solo release by Ralf Wehowsky. He is currently one of the most respected electronic composers of our day. With this release his starting point is the comparison of the black plague and covid-19 as there are some astonishing similarities of how people dealt with the diseases. Denial of reality, conspiracy theories, searching for scapegoats, etc: Surely satanic inventions are the source of all calamities? Extracts from documentary recordings and a few fragments of ars nova/subtilior compositions have been transformed, extended, fragmented and re-contextualised, from which the 15 pieces of this release are built. Ralf Wehowsky was one of the founder members of the seminal German group P16.D4 and the label Selektion whose ground-breaking releases influenced many working in today’s experimental music scene. Previous releases have seen him collaborate with such well known and diverse artists such as Merzbow, Bernhard Guenter, Jim O’Rourke, Achim Wollscheid and Lionel Marchetti. His music is impossible to pigeonhole into one simple bracket. It is neither industrial or musique concrete, nor computer music nor improvisation. “RLW's work moves on the edge of musique concrete, but never looses it's touch with industrial music on the one hand and with microsound on the other. But it defies these categories and can perhaps only be classified as RLWmusic. Great work!” – [Vital 584, The Netherlands] “…truly outstanding” – [www.chaindlk.com] "There have been many documentations on differences and similarities of the pandemics, which plagued mankind over the last centuries and millennia. Comparing the black plague and covid-19 there are - besides the obvious differences (more victims in absolute numbers because of increasing overpopulation, decreasing number of victims in relative numbers because of the evolution of scientific knowledge) - astonishing similarities how people dealt with the diseases. Denial of reality, conspiracy theories, searching for scapegoats: Surely satanic inventions, spread by elites, papists, jews, communists, etc, are the source of all calamities? Human stupidity never should be underestimated. For tunately, history teaches that the misery ends someday, even if the pandemic meets with war, famine etc. Amidst similarities new powers do grow. In the late 14th century ars subtilior must be pointed out. Liberation from religious themes, breaking open rhythm, introducing bizarre chromatic passages, odd dissonances, etc. Therefore, it seemed natural to combine documentations of actual madness with songs from that past. Some short extracts from documentary recordings and a few fragments of ars nova/subtilior compositions have been transfor med, extended, fragmented and recontextualised, from which the 15 pieces of this release are built. Recorded from April 2021 to March 2022, Eggenstein, Germany" [liner notes] "Seeing such a political statement on an RLW CD is something I don't recall seeing before. It is about the pandemic and the conspiracy theories that spawned, which I (too) believe is the true disease of our times. "I can read", usually means, "I like to cherry-pick popular notions", and "science is an opinion" is usually said by someone who has no clue as to what science is. Or, as I challenged someone: "How do you prove that all swans are white" to which I got the answer ", by killing all black ones", which seemed proof that not all swans are white. RLW says that all misery end one day, and something will grow. In the 14th century, Ars subtiloir (subtler art) became a musical style. It was rhythmic and notional, more complex. The end of the plague (well..) ended in something new. RLW uses music recordings from that time and short extracts from documentary recordings. Not that you easily recognize any of this in the fifteen pieces of music. Sure, some of this finds origins in voice material, and a word here or there is recognized, but who or what remains a mystery. The abstraction level is very high, as with much of RLW's music. He applies a collage-like approach to his music. A surprising element is the use of turntable/vinyl, which I haven't heard from him in some time. RLW's music is of a different complexity than the original Ars subtiloir, so I assume (not being an expert here), that he applies his musique concrète techniques to the music. Editing, stretching, granular synthesis and whatever else there is are as strong as any other RLW record. One thought I had with hearing these voices bending and twisting; maybe they sound like shapeshifting alien reptiles? Having read most of David Icke's books (to be found in a folder on my hard drive labelled 'humour'), there must be a place here for the sounds of reptiles. Throughout, there is some excellent, imaginative music here. I would say that even without the backstory, this is still a great release; it can be enjoyed equally."[FdW/Vital Weekly]	2022	€13.00
	Fading Pictures	CD	New release on Black Rose Recordings. This is a cinematic and inspiring musical journey which combines beautiful ambience interspersed with haunting atmospheres and electro-acoustic soundscapes. Comes with great artwork by Chris Low. Electroacoustic music and the concept of cinema d'oreilles have always had a close relationship. From Walter Ruttmann’s Weekend (1939) to Jerome Noetinger's series of MCD releases of the same name (Metamkine, 1992 - 2002), right through to the present day. It is important to note that electroacoustic music is not programme music, but autonomous: it does not condition the listener's imagination to a film score (as most film music does) but opens paths for the listener's own ideas and projections. The listener is encouraged to develop their own creativity; it is not about manipulating his ideas in predetermined ways. The compositions on this CD and their sequence offer the opportunity for free associations, their titles can serve as clues or be ignored, and pure musical listening is also possible: ... pictures might be fading. Or not. It's up to you. Ralf Wehowsky is one of the most respected electronic composers of our day and was one of the founder members of the seminal German group P16.D4 and the label Selektion, whose ground-breaking releases influenced many working in today’s experimental music scene. Previous releases have seen him collaborate with such well known and diverse artists such as Merzbow, Bernhard Guenter, Jim O’Rourke, Achim Wollscheid and Lionel Marchetti. His music is impossible to pigeonhole into one simple bracket. It is neither industrial or musique concrete, nor computer music nor improvisation. ~~~~~~~~~~~~~~~~~~~~~~ "It appears that with Black Rose Recordings, Ralf Wehowsky, better known as RLW, has found a steady home for releasing his music. It seems there aren't as many as there were years ago, for reasons I am unaware of. I believe liner notes for his work are pretty rare, although they have become less uncommon with recent releases. On the cover of 'Fading Pictures', RLW writes about electroacoustic music, describing it as cinema for the ears and explaining how it differs from program music, as understood in the classical sense of the term. You write a symphonic poem, called 'The Moldau', and listeners see the flow of the river from a small creek ending in the black sea. The opposite of this is absolute music, even when RLW doesn't mention this word. Francisco Lopez's 'untitled' compositions are a radical, contemporary example of this. The listener is free to develop any narrative here, any picture and is even encouraged to fiddle with the frequency range and alter the work further. Furthermore, writes RLW, electronic instruments were once the playground for individual ideas, but these days, for standardisation: autotune, quantisation, and AI to recreate your favourite artists. "Therefore, common virtual instruments are used for fading pictures. Although the effort required to 'brush against the grain' is considerable, aesthetically it is comparable to the remodelling of conventional electric instruments in post-punk of unusual instrumental playing styles in free and new and therefore worth the effort". I am unsure what this means, which is a pity as it explains, I think, the title of the CD. Does RLW use virtual electronic instruments? As he says, the listener is free to have any associations, and titles are merely suggestions or clues to be disregarded. We can listen to this as purely musical pleasure. I go for that last option, because, to be honest, that's what I do most of the time. I admit I don't play as much of RLW's back catalogue as I probably should (but the future looks bright in that respect), I always play his releases with much interest, as, regardless of what he's using, it always sounds compelling. There are feedback-like sounds in the opening piece, 'ertraeumtes intro, vorzeitig abgebrochen', a reminder of the early days of musique concrète, but also recordings of stringed instruments, played with bows, played in a somewhat improvised way, but hacked into fine little pieces, edited and served as the next course in this fine dinner. Between these ends, the pure electronic sounds and the improvised recordings, all extensively processed, is where we find RLW at work. Sometimes loud, sometimes quiet, with lots of dynamics, and an extreme eye for detail. I am the kind of listener who sees no images with this kind of music, but I enjoy it on a purely musical level. This is a highly diverse and excellent work." [FdW / Vital Weekly] ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ "Zuletzt hatte uns rlw (bürgerlich Ralf Wehowsky – vor vielen Jahren bei P16.D4 aktiv und seitdem auf zahlreichen Veröffentlichungen als kaum kategorisierbarer Geräuschmusiker aktiv – auf diesen Seiten mit seinem Album „Satanic Inventions“ begeistert. Nun erscheint – wieder auf Stephen Meixners Label Black Rose Recordings – mit „Fading Pictures“ ein ebenso konzeptionell dichtes Album. Wehowsky beschreibt in den Linernotes die enge Verbindung zwischen Elektroakustik und dem Cinéma L’Oreille. Dabei versteht er elektroakustische Musik als „autonome“ Musik – nicht als „Programmmusik“, also nicht als Mittel zum Zweck. Viel eher sollen die einzelnen Stücke des Albums beim Hörer Raum für freie Assoziationen lassen, man soll seine eigene „Kreativität“ entwickeln. Die Titel der insgesamt neun Stücke können, müssen dem Hörenden aber nicht unbedingt Deutungshinweise geben, dürfen also ebenso ignoriert werden. Der erste Track „erträumtes intro, vorzeitig abgebrochen“ beginnt mit hochfrequentem Fiepen, kristallinen Sounds, dazu dann Brummen und unruhige Passagen. Der Neologismus „vorzimmern # 1“ beschreibt ein Stück, von dem mein jüngster Sohn meinte, es klinge, als würde eine Platte mit einer Gabel „verquietscht“, die Sounds wirken wie zerhäckselt. Dagegen ist „absurdes bekanntes # 1“ wesentlich dunkler: Es ertönen an Streicher erinnernde Klänge, denen durchaus ein Moment des Bedrohlichen innewohnt. Im weiteren Verlauf des Stücks meint man, bearbeitete klagende Stimmen zu hören. Das ist vielleicht ein Chor aus Schmerzen. Diese Stimmung wird bedingt auf „absurdes bekanntes # 2“ mit fast schon leiernden Sounds fortgesetzt. Verglichen mit diesem sehr dichten und verdichteten Stück ist „schein-kristall # 1“ reduzierter und klingt so, als werde vereinzelt auf Metall geschlagen, als erklinge eine Glocke in einem Kloster. Der Track „vorzimmern # 2“ dröhnt, während „absurdes bekanntes # 3“ von Streichern durchzogen ist und sich zu einem dissonanten Monster steigert. Tönt ein Saxophon? Der vorletzte Track „schein-kristall # 2“ ist wieder etwas minimalistischer, erinnert kurzzeitig an ElpHs „Worship The Glitch“-Album, bevor das Album mit „offenes ende, vorzeitig abgebrochen“ und dunklen Cellopassagen und Stimmen endet. Das Label spricht von „haunting atmospheres“ (das von Chris Low designte Artwork scheint das insbesondere auf der Rückseite zu unterstreichen) und das ist durchaus das richtige Attribut für diese Stücke, die immer auch etwas im positiven Sinne Verstörendes haben, wobei man das auch so verstehen kann, dass Konventionen gestört werden." [MG / African Paper]	2025	€13.00
RLW / RICHARD FRANCIS	R	CD	"First collaboration between Ralf Wehowsky (Germany) and Richard Francis (New Zealand) On a trip from Auckland over Worpswede to Eggenstein Richard Francis visited Ralf Wehowsky on the weekend of September 28th and 29th, 2013. For the recording sessions taking place during these two days Richard used his analogue synth and electronics, while Ralf had a desktop and a laptop for producing digital electronic sounds at hand. For bridging the anatgonistic sound worlds the input of one sound system was fed with the output of the other and vice versa. For this release two of the tracks (Piece 1, Untitled 1) are presented as they were recorded, with only slight pan and volume adjustments. The third track (Piece 3) is composed of fragments of a longer improvisation, time-shifting the contributions of the two artists against each other to constitute a system of non-simultaneity. RLW/Ralf Wehowsky Ralf Wehowsky is a german experimental composer, active since the 80s (with the group p16.d4 then). his work is split between solo releases (under the moniker rlw) and collaborations, exploring all fields between media exchange and realtime presence recordings. collaboration partners include among others Lionel Marchetti, Merzbow, Jim O´Rourke, Bruce Russell, Das Synthetische Mischgewebe, Anla Courtis, Contrastate, Kohei Matsunaga, Annette Krebs - and Richard Francis. Richard Francis Richard Francis is a sound artist from New Zealand working with electronics and found recordings. He's released solo and collaborative albums on Senufo Editions, Entr’acte, Glistening Examples, Korm Plastics and Aufabwegen. Recent collaborators include Ralf Wehowsky, Frans De Waard, Anla Courtis, Bruce Russell, Mattin, Jason Kahn and Francisco Lopez." https://aufabwegen.bandcamp.com/album/r "In 2013, Richard Francis travelled from his hometown Auckland to Worpswede, where he was invited for a residency. He did a stop-over in various places to work, such as Worm (Rotterdam), Extrapool (Nijmegen), and the German town of Eggenstein, where he met Ralf Wehowsky, also known as RLW. They spend two days together recording music. Francis, at the time, had a small mobile modular synthesizer, some electronics, and RLW behind his desktop and laptop. Both systems were connected via in- and outputs. Of the three pieces, the two longer ones were recorded in September 2013, and I assume they also mixed these at the same time; perhaps we could see this as live-in-the-studio music. The third piece, 'Piece 3', is a recomposition by RLW, using the original recordings from 2013. As I hear the two longer pieces, I wonder whether that live-in studio thing results from extensive editing and mixing of an improvised recording. In all honesty, I couldn't say which it is. It has that complexity that we know from RLW, the aspect of multi-layered sound, the collage approach we know from musique concrète, a world of music to which RLW owes much. Francis modular electronics move around like snowflakes, like corroded spaceships, or simply recall what we call 'early electronics'. The collage principles are no strangers to both men, although more applied by RLW than Francis (certainly in recent times), and it takes the material all over the place. The rusty spaceship and explosions of dark matter cause massive disruption, as noise isn't kept out of the equation. These two long pieces make up for a bumpy ride, neatly going all over the place, from strict noise to sheer silence, from densely orchestrated nightmares to single lines floating about. In the 2020 rework of the source material, some of the density of the 2013 material disappears, and it all becomes an opener. Here the music becomes almost like a cosmic synthesizer scape or something working with sine waves. I was surprised this piece was the opener of the CD, but because it's over seven minutes and much shorter than the other two, the spaciousness of this piece works very well as an introduction to what's coming. In my Thursday Afternoon Talk (link below), Jos Smolders and I talk about a previous RLW release, 'Satanic Inventions' (Vital Weekly 1365) and I mention that RLW doesn't seem too prolific in recent years. My mistake: take a look at his releases on Discogs and you'll see otherwise." [FdW / Vital weekly]	2023	€13.00
RLW + SRMEIXNER	Just like a Flower when Winter begins	CD	"Recorded by RLW (Ralf Wehowsky of P16.D4) and srmeixner (Stephen Meixner of Contrastate) between 2010 and 2013. The first emanation of the project came up with two versions of one mutual piece (Sunglasses by rlw, Wishing by srm). The core structural elements of the release can be seen in srm's meditation on sentiment (old hearts) and rlw's textased pieces (Prach-tjunge, Alle, Definition). More instrumentally based are Gummidorf (srm) and Spaßbremse rlw). Beyond this a signment both artists have touched all pieces in various ways, as indicated indirectly by the following pandects & interpolations: RLW (Dec 2010) 'Some weeks ago I did a horrible dj-set for a 75th birthday celebration, including Heino and other German schlager cruelties. it was so terrible ! maybe I'll go back to the pieces i used for this event some day. This stuff is awful enough to make another use of it. SRM (Jan 2011): I have been thinking about your description of German schlager cruelties and how horrible it was and awful enough to do something with. Maybe there is a possible project there?" [label info] www.monotyperecords.com " "Wie eine Blume am Winterbeginn / Und so wie ein Feuer im eisigen Wind / Wie eine Puppe, die keiner mehr mag /FÃ¼hl ich mich an manchem Tag" (meaning "Just like a flower when winter begins / And just like a fire in an icy wind / Just like a doll that nobody wants anymore / That's how I feel on some days"), said the first strophe of the song "Ein bisschen Frieden" ("A little bit of Peace") by which Nicole Seibert, better known as Nicole, won Eurovision Song Contest 1982, rised UK single chart up and became quite famous due to a number of translated versions. This buttery and somewhat controversial (just check lyrics) song became the emblem and the title of this lampoon of pop hit songs - mainly German schlager, but there are also quotes and samples from other traditions together with some German musical atrocities which could have been exported by immigrants, such as the sample of Italian song "Mamma" by Claudio Villa in the disturbingly funny "Old Hearts Rejuvenated" - by Ralf Wehowsky aka RLW, member of the forerunning collective P16.D4, and Stephen "srmeixner" Meixner of Contrastate. Their humorous collage which turned a set of samples from a number of gutted pop hits, plunderphonics, industrial-like sonorities, electroacoustics and vocals which sound like radiophonic captions into a sort of creepy show, whose core elements are srm's meditiation on sentiment ("Old Hearts Rejuvenated"), which are somehow closer to his "permutative distorsions", and rlw's textual pieces ("Definition (Konsumation)", the disquieting swarm of "Alle (Everyone)" - it's really funny the list of names of German pop stars, where the female speaker turns into a devilish one -, the initial "Blumen fur den Prachtjungen") as well as some instrumental forays ("Gummidorf", "Spassbremse") or post-industrial unnerving activated sludges ("Wishing To Be Entartained", "The Man with the Sunglasses"). I could imagine that what you're going to listen on "Just Like A Flower When Winter Begins" if you woefully end up in a German schlager with drunken cockscomb, nazi loggers, twinkly blond milks and a lot of cholesterol while you were searching for a loo in order to sober up after a pitiless barman put an acid pill into your glass of milk." [CHAIN D.L.K.)	2013	€13.00
RMEDL / K11	Chthonian Music	CD	"Reissue of an extremely limited 2010 release (x50 private copies). This multi-dimensional collaborative opera (audio installation and concept album) is a bridge between the conception of sound within the contemporary art scene, post-industrial culture and the avantgarde black metal musical scene. It focuses on creating a dialogic development between radical forms of concrete music, unorthodox sounds, conceptual arts and experimental recording practices of acoustic phenomena. The following artists participated on the release: Aderlating, Andrea Marutti, Burial Hex, Christina Kubisch, Deadwood, Francesco Brasini (Sevenguitars), Francisco Lopez, Gianluca Becuzzi, L’Acephale, Luciano Maggiore, Massimo Bartolini, Nordvargr, Philippe Petit, Seth Cluett, Utarm, Y.E.R.M.O.." [label info] www.coldspring.co.uk	2012	€13.00
ROCKENSCHAUB, GERWALD	Private Pleasures	CD	Sowas wie auf dieser CD kommt vielleicht heraus, wenn man den jungen Pop-TIETCHENS (Sky-Phase) zusammen mit einem angetrunkenen SIGTRYGGUR SIGMARSSON und FELIX KUBIN auf Designer-Drogen sowie INOX KAPELL (ohne Drogen, nur natur-stoned) in einen Raum sperrt und einfach machen lässt. Obskur-infantiles elektronisches Rumgefrickel und Gesampele z.T. mit cheapo-Beats versehen – kann man nicht wirklich ernst nehmen, aber genau darin liegt der Reiz ! "gerwald rockenschaub is one of the most wellknown visual artists, currently living in berlin. apart from making art he has been deeply involved with music from the start, playing in bands, dj-ing, organising parties in his former hometown vienna and occasionally composing music which got released mostly through his own definitely something label. "private pleasures" is his first album in more then 5 years, a perfect showcase of his weird and very personal hybrid of half-defunct techno rhythms and a great sensibility for electronic music. comes with beautiful artwork designed by the artist himself." [label info]	2004	€10.00
RODEN, STEVE / IN BE TWEEN NOISE	Every Color Moving (1988-2003)	6 x CD BOX	"Every Color Moving' consists of 6 discs, covering 7 hours of the 15 first years of Steve Roden musical activities. The first 4 discs contain unreleased works and impossible to find small editions. The last 2 discs offer a selection of tracks made for compilations during the same period. From the surprising early experiments to the development of his often imitated but never equalled 'lowercase' aesthetic, these are some of Roden's earliest works, documenting numerous rare and unreleased recordings. The discs are accompanied with a 32 page booklet with an essay and extended track notes, written by the artist. Steve Roden (1964) is a visual and sound artist born in Los Angeles. Roden's work includes painting, drawing, sculpture, film video, sound installation, and performance. Roden's earliest musical experience was as the singer of the Los Angeles punk band 'Seditionaries' from 1978 - 1982, performing locally with some famous bands from this scene. Roden's early works moved from loud to quiet in the midst of an emotional crisis at age 18, fueling a shift in his work, with the discovery of Eno's Obscure label. In the early -1990's Roden discovered the Broken Music catalog (an encyclopedic survey of records related to visual artists), offering a context for an artistic practice rooted in both visual and sound art.In 1990 Roden released his first recording on a self-released cassette titled 'the secret of happiness' under the artist name 'in be tween noise'. Since then, Roden has released 45 solo recordings on various labels, alongside numerous collaborations and compilations. By the late 1990's Roden began to use his own name as the artist of his solo recordings. Most of Roden's sound works tend towards using a singular source - such as objects, architectural spaces, field recordings, or texts. These things, become abstracted through humble electronic processes to create new audio spaces, or 'possible landscapes'. In 2000, he used the term 'lowercase' to describe a music that 'bears a certain sense of quiet and humility'. Over the years, he has created a rich and diverse body of work that is uniquely his own, mixing conceptual rigor, experimentation and musicality."	2016	€39.00
RODEN, STEVE & STEPHEN VITIELLO	The Spaces contained in Each	CD	Steve Roden and Stephen Vitiello are sound artists working at the nexus of sculpture and acoustics. They are professional listeners, embedding themselves in the auditory and relishing that which is encompassed in their horizon of listening. It’s their shared horizon of listening then, that is at the core of The Spaces Contained In Each. Recorded as part of their joint residency on Governor’s Island in New York, this edition documents their installation work created for the unique acoustics of the Cornelius Chapel. Like many of the recordings that populate their solo discographies, The Spaces Contained In Each, dwells in a zone of rich textural soundscapes. Distant bells toll at the edges of perception, field recordings flutter amid bursts of modular synth and other electronics. The sound field is constantly evolving and unfolding as layer upon layer of sound draws you deeper into their sound space. Moments of hushed tonality break into explosive bursts of frequency, though at no time does the work break its auditory suspension of disbelief. This collaboration sounds out new pathways into fields of sound well explored by each of these artists. It marks an accumulation of their works, both individually and as collaborators. Indeed, The Spaces Contained In Each, is an apt metaphor for the sounds presented throughout this edition.	2014	€15.50
ROSENQVIST, DAG & SIMON SCOTT	Conformists	LP	"Conformists’ is a soundtrack album to the short film of the same name composed by Dag Rosenqvist (aka Jasper TX) and Simon Scott. The origin of the album occurred when Dag was approached by filmmaker Juriaan Booij to provide music for a film he was planning to shoot. Before a single frame was committed to celluloid, the overview provided to Dag was to score a film about how group mentality rules us as humans. Equipped with only this simple brief, access to a handful of storyboard images and stills from the film set, Dag decided to ask friend and colleague Simon to collaborate on the project. Through the long-distance exchange of files, ideas and half-finished tracks, ten pieces were completed for the film score. The resulting soundtrack is music rich in subtlety and nuance. Matching the overarching themes of the film, an undercurrent of menace is present throughout, evoking the feeling of half-forgotten memories and imagery drained of its colour. It should be noted that one of the strengths of ‘Conformists’ is that unlike many film scores, the album also works as an entity in its own right. It was uncertain for a time that the film was going to be completed. As a result of the artists’ creative juices flowing thick and fast, the album was completed as a collaboration based on a film they imagined would be made..." [label info] www.low-point.com	2010	€15.00
ROTAT	Persisting Calamity	CD	2024 ROTAT album, Finnish harsh noise artists returns on Freak Animal after multiple great CD's done for international labels. Vile colorful 6 panel covers and album worth of straight forward harsh noise.	2024	€13.00
SAD KARMA	Solis	maxi-CDR	Ziemlich beeindruckende CDR auf ONYXIA von einem (neuen?) Projekt namens SAD KARMA, die vier sehr elegisch-dunkle Stücke komponiert haben, irgendwo zwischen reinen atmosphärischen Klängen und richtigen „Songs“.... etwas elegisch, weirde Gitarren & Analog-Synths, Pianoeinsatz... “SadKarma is the phenomenon of the experience of pleasure, through the perception of balance and proportion of stimulus. It involves the cognition of a balanced form and structure that elicits attraction and appeal towards a person or an inanimate object. SadKarma is the bedlam of organic ambience with decoration & fluctuation in its purest form. The frames of the music bear fragments from certain eras of artists like Swans and Coil but the painting itself has drifting textures far more beautiful. Professionally executed CDR release with full colour sleeve & label. Warmly recommended! Ltd. 200 copies.” [label info]	2005	€7.50
SAKELLARIOU, YIORGIS	Nympholepsy	maxi-CD	Nympholepsy (23:03) is inspired by the immediate environment and history of ancient messene. The work links the archaic with the contemporary by establishing a dialogue between the ethereal (sound) and the material (the ancient ruins). It is an exploration of the blurred limits between myth and history and the relationship between deities and human beings, nature and the supernatural. The sonic material is based on the voice of Savina Yannatou which is manipulated and combined with environmental recordings. In memory of my father Costas Sakellariou Nympholepsy was premiered on June 3, 2018 at Tuned City - Ancient Mesene - Athens (OCC) as part of the INTERFACES project and co-funded by the Creative Europe program of the European Union. Special thanks to: Savina Yannatou, Carsten Stabenow, Manolis Manousakis, John Grzinich, Nikolas Malevicius and the production and technical team of OCC. noise-below.bandcamp.com mechaorga.wordpress.com https://mecha-orga.bandcamp.com/album/nympholepsy "Yiorgis Sakellariou’s Nympholepsy is a portrait in sound of the historical ghosts inhabiting the ruins of Ancient Messene, a city on the Greek peninsula of The Peloponnese. Over the centuries, the site saw several waves of settlement and conquest, of building, destruction and reconstruction, beginning with foundation by the Achaeans and culminating with the city’s reestablishment in 369 BCE after the defeat of Sparta by Thebes at Leuctra. Much more recently–in 2018–the ruins of Ancient Messene were the focus of a Tuned City event in which a number of sound artists were commissioned to explore the themes of place and memory and their implications for the situated nature of listening. Sakellariou was one of the artists invited to participate; Nympholepsy is the work that resulted. The audio interpretation of an ancient city would seem to be a natural fit for Sakellariou. Trained as an ethnomusicologist and active since the early 2000s as a composer of electronic music and a field recordist, Sakellariou has produced a body of work largely concerned with ferreting out and disclosing the networks of association that tie together an environment and the listeners situated within it. For Nympholepsy he took field recordings of Ancient Messene and combined them with manipulated recordings of the voice of Savina Yannetou, a Greek vocalist as conversant with early music as she is with contemporary improvisation. Sakellariou alters the sound of Yannetou’s voice artfully, changing its pitch and timbre, setting up rhythmic patterns and blocks of sound, and occasionally stripping it down to traces of its grain with the underlying breath exposed. Structurally, the twenty-three minute-long piece is a work of accumulation and densification as Sakellariou adds layers of sound elements and pressures them into thickening masses—an especially appropriate response to a place that itself was the product of an accretion of peoples and their material cultures over long periods of time." [Daniel Barbiero / Avant Music News]	2019	€8.00
	Auka	mCD-R	“for music is certainly the ultimate mystery of faith, the mystique, the completely revealed religion” (ludwig tieck) the title is inspired by the painting "auka" by m. k. Čiurlionis. many thanks to gailė griciūtė, dominykas digimas, daniel crokaert and jean-marc boucher. “auka” was composed in august 2019 during a residency at DAR (Druskininkai Artists‘ Residence), organized and supported by the lithuanian composers’ union. environmental sounds recorded in vilnius, kaunas, elektrėnai and druskininkai, lithuania from november 2018 till august 2019. https://taalem.bandcamp.com/album/auka-alm-137 "While the label says they explore the various ways of ambient music they proof here with the release by Yiorgis Sakellariou they don't mind going an extra mile; or two. Sakellariou is a composer of music created with the use of field recordings. You might know this from my previous reviews of his work. On 'Auka' (inspired by a painting by m. k. Ciurlionis, and Auka meaning 'sacrifice') he uses field recordings from Vilnius, Kaunas, Elektrėnai and Druskininkai, all cities in Lithuania. Using field recordings, I would think, is nothing unusual in the world of Taalem, but Sakellariou uses his field recordings as they are, and does not apply any sort of manipulation to it (save, perhaps, for some equalization). He uses these sounds as they are and it is in the combination of these sounds to create the composition. A lot of the time one has no idea what these sounds are; crackling of leaves, branches, static electricity, metal staircases; that is the sort thing believe to hear. Another very un-Taalem thing is that Sakellariou uses a lot of dynamics in his music, and this piece is not different. There are two distinct loud passages in this piece but also some very quiet, near-silent passages. This is not your standard ambient music, but rather a musique concrète work and Sakellariou is a refined composer in that field. Perhaps, this work will be something of a shock for some people but I love it. It is a powerful work full of the near-by and far away sounds, unusual spaces to record them in and an intense listening experience." [FdW / Vital Weekly]	2020	€5.50
SALA	En-trance	CD	Zweites Album dieses Projekts auf AUTARKEIA, dem litauischen Label. Wilder und perkussiver als „Shcut ente..“, werden hier schamanistische Tänze & Ekstasen aufgeführt, alles handgespielt und ungeordnet, Blasinstrumente, beschwörende Vocals & Geschrei.... im gleichen Geiste wie Z’EV, 23SKIDOO, alte PSYCHIC TV, aber auch VIBRACATHEDRAL ORCHESTRA oder wilde MAEROR TRI oder rituelle HYBRYDS kommen einem in den Sinn... und wieder duftet die CD nach MANDELN. “En-trance” was recorded, but still wasn’t released by the magic-practising artists almost a decade ago. This album compiles two lasting live-recorded tracks. Ritual pulsing, archaic sound of wind instruments, deep-dark “ambient” and surrealistic, unexpected music bends immersing the audience to the swirl of phantasmagoric moods. There are some movies classified as of the “noir” stylistics, the main feature of which is highly forcible and strong atmosphere. If the records also have the classification of the “noir”, “En-trance” could be considered one of the most emphatic works of this style. Emotions generated by the “En-trance” music could be compared with the psychedelic atmosphere of the first albums of NWW, Hybryds. Interesting record and mystic ritual having sustained the challenge of social disregard during the years. Album's tracks listing: 1. neophile gets ex-sited 2. and now s-he starts laughing Album lasts for 40 min. 36 sec. It’s packed in a nontypical black plastic DVD case. Limited edition 500 copies. CD is covered with special lackuer which smells like an almond.“ [label info] www.autarkeia.org	2005	€12.00
	Shcut enteRing worts	CD	Wer auf beschwörenden Okkult-Ambient-Industrial steht, ist bei SALA genau richtig. Geisterhaft tönende Loops & verfremdete Stimmenfetzen, Glöckchen- oder Triangelsounds, alles in sehr hypnotischer Bewegung irgendwo im Hallraum tauchen seltsame Geräusche auf (Akustikgitarren).... gewidmet Jhonn Balance! “Shcut enteRing worts” consists of two forceful tracks of “ritual ambient” style. They are not distinguished in the compact disk as the ritual couldn’t and shouldn’t be accelerated or perceived in separated pieces. Starting from hypnotic “mantra”, music gradually unravels to the strong and mystical “ambient”, the main feature of which being reiteration transmitted by the sound loops. These are organically supplemented by the tabors, bells, magic spells and mysterious sounds floating from the distance and generating only the strong mystic mood of the audience. Actually, concerning the impact, this music is in line with the works of world’s famous artists acting in this field – Coil, NWW, Omenya, Hybryds, Deutsch Nepal. The “Schut enteRing worts” album was recorded by the participants of SALA project when experimenting with Brion Gysin’s dream machine, which formerly inspired the well-known William S.Burroughs and had a strong psychedelic effect. Album's tracks listing: 1. His: Entering The Dream 2. The Last Words Of Hassan Sabbah Album lasts for 36 min. 26 sec. It’s packed in a nontypical black plastic DVD case. We recommend you to listen to “Schut enteRing worts” only on Hi-fi stereo. Limited edition 500 copies. CD is covered with special lackuer which smells like an almond.” [label info] www.autarkeia.org	2004	€12.00
SALOMAN, GABRIEL	Movement Building Vol. 3	LP	Shelter Press has made good on its promise to deliver the third and final volume of its series featuring Gabriel Saloman, released both on vinyl and collected with Movement Building Vol. I (2014) and Vol. II (2015) as a double CD. For fans of Saloman’s post-Yellow Swans work – an already dense catalog of darkly cinematic compositions mostly conceived as accompaniment to some of Vancouver’s edgier contemporary dance companies, Movement Building Vol. III is not only a much anticipated conclusion to this trilogy, it is the most fully realized album in years. Where as Movement Building Vol. I & II acted primarily as documentation of time-based artworks, Movement Building Vol. III offers a more coherent and narratively rich album that will appeal to admirers of Soldier’s Requiem (Miasmah, 2013). Listeners will recognize the emotive bowed strings, militant percussion and searing guitar eruptions that evoked memory and trauma in that previous album. Joining this pallet are other familiar Saloman sounds: shoegaze washes of distorted guitar, minimalist piano attacks, melancholic appregiated melodies, and a patina of harsh noise. Added to this is a more 21st Century approach to drums and bass, perhaps an effect of his collaborations with producer Michael Red in their dub-ambient project Chambers. Saloman’s music has never sat comfortably in any genre, sharing with a select cohort of other artists (Stephen O’Malley, Lawrence English, Grouper, Kreng, Tim Hecker, among others) an ambiguous position between “modern classical”, “electronic music”, and the more outer limits of metal. Movement Building Vol. III doesn’t clarify as much as it expands Saloman’s oeuvre further into an idiosyncratic musical no-man’s land that fails to be faithful to any popular musical trend – contemporary, retro or futurist. Movement Building Vol. III’s themes are taken from the dance it was composed for, 2015’s What Belongs To You, created by longtime collaborator Vanessa Goodman (Adhere, Soldier’s Requiem). That work sent its dancers through a physical journey exploring the needs of the body, for shelter, for love and for self-actualization, roughly aligned to Abraham Maslow’s “hierarchy of needs”. The resulting album seems to achingly soundtrack the struggle for survival, not simply for bare life but for something greater and more transcendent that would make survival have meaning. It holds dread and hope in equal parts, never quite giving away the end of the story. Though this record was recorded two years ago Movement Building Vol. III could be the perfect album for our current era of civilizational near-collapse, whether at the hands of maniacal politicians, the slow burn of the Anthropocene or the constant enclosure of the corporate driven, social media enabled surveillance state. Movement Building Vol. III arrives both as a stand alone vinyl release, and as part of a collection of all three volumes packaged in one double CD. The collection of these works allows one to see clearly Saloman’s techniques and approaches to a relatively limited number of instruments – guitar, percussion, occasional piano and tape. Movement Building Vol. I is presented as one continuous piece, moving through an extended set of drone and loping drum play before climaxing in the kind of glorious guitar chording most often associated with My Bloody Valentine, GSYBE or Mono. Movement Building Vol. II explores various combinations of drum and drone, ASMR inducing high end clatter and the now infamous take on Miles Davis’ classic My Funny Valentine. The digital versions of these albums, mastered by Helmut Erler at Berlin’s Dubplates & Mastering, restore to them their full range of frequency and dynamics, providing a deeper glimpse into the theatrical origins of their composition. Movement Building Vol. III is not only the final installment in Shelter Press’ series but also represents the culmination of a prolific period of creation for Saloman that began with 2012’s Adhere. From 2011-2016, Saloman produced dozens of recordings in collaboration with various dance artists. Currently living in Santa Cruz, California, and working on a PhD concerning noise and protest, it’s unclear how a new home and a new political reality will shape the music he makes next. One thing is for certain: it’s unlikely that Saloman will be silent for long. shelter-press.org/gabriel-salomanmovement-building-vol-3/	2017	€20.00
	Movement Building	do-CD	Shelter Press collect all three volumes of the compelling Movement Building works for dance by Gabriel Saloman (Yellow Swans) in a handy double CD set, providing a first opportunity to listen and immerse yourself in the noise deity’s most refined and touching body of work since going solo after Yellow Swans’ demise. Since 2014 Shelter Press has been steadily releasing a multi-volume series of documents showcasing Gabriel Saloman’s music for contemporary dance. Under the title of Movement Building, these albums have covered a wide breadth of themes and approaches, all of them coalescing around Saloman’s darkly cinematic approach to contemporary guitar music. Known for his part in the seminal electronic-noise duo Yellow Swans (alongside Pete Swanson), Saloman has taken the sweeping drones and fried electricity of his former band and embedded them within an expanding pallette of bowed strings, martial percussion and resonant piano. Shelter Press has now made good on its promise to collect all three volumes of this vinyl only series – Movement Building Vol. I (2014); Vol. II (2015); and Vol. III (2017) – as a double CD featuring two hours of music, new artwork, previously unreleased tracks, a new digital master by Helmut Erler of Berlin’s Dubplates & Mastering, and an extensive essay on dance, politics and the themes of each album written by Saloman. These collected volumes provide an absolutely necessary document for any fan of Saloman’s work, past or present. The first disc collects Movement Building Vol. I and Vol. II, the former a sprawling 36 minutes epic that had previously been separated into two discreet tracks for vinyl and is collected here as one continuous piece, moving through an extended set of drone and loping drum play before climaxing in the kind of glorious guitar chording most often associated with groups such as My Bloody Valentine, GSYBE or Mono. Movement Building Vol. II explores various combinations of drum and drone, ASMR inducing high end clatter and Saloman’s infamous take on Miles Davis’ classic My Funny Valentine. The second disc collects Movement Building Vol. III, including two tracks not available on the concurrently released vinyl version. Vol. III shares with earlier albums the emotive and disorienting bowed guitar, militant percussion and searing guitar eruptions that was so evocative of memory and trauma. Joining this pallet are other familiar Saloman sounds: shoegaze washes of distorted guitar, minimalist piano attacks, melancholy guitar melodies, and a patina of harsh noise at just the right moments. Added to this is a more contemporary approach to drums and bass, perhaps an effect of his collaborations with producer Michael Red in their dub-ambient project Chambers. Saloman’s music has never sat comfortably in any genre, sharing with a select cohort of other artists (Stephen O’Malley, Lawrence English, Grouper, Kreng, Tim Hecker, among others) an ambiguous position overlapping “modern classical”, “electronic music”, and the more outer limits of “ambient metal”. The recordings collected in Movement Building doesn’t clarify as much as it expands Saloman’s oeuvre further into an idiosyncratic musical no-man’s land that fails to be faithful to any popular musical trend – contemporary, retro or futurist.	2017	€17.00
SAVAGE REPUBLIC	1938	CD	Eine DER Überraschungen des Jahres 2007 war das neue Album der "Art-Punk" Band aus L.A.! "Eigentlich könnte die kalifornische Band Savage Republic heutzutage auch eine große Legende in Sachen Art-Punk und experimenteller Indie-Musik sein, so wie Sonic Youth, Minuteman oder die Einstürzenden Neubauten. Warum man diese Band normalerweise nicht in einem Satz mit diesen Genre-Größen nennt, ist wohl eine ungerechte Laune der Musik-Geschichte, standen Savage Republic doch in den 80er Jahren eben mit diesen Bands zusammen auf einer Bühne. Savage Republic sind deshalb auch so etwas wie Art-Punk-Pioniere, die auch nicht vor den schrägsten musikalischen Einflüssen zurückschreckten. Da wurde der frühe West-Coast Hardcore-Punk genau so angesehen wie 60’s Psychedelic oder Ethno-Folk. Dick Dale gehörte genau so zu den Vorbildern wie Ennio Morricone oder Mikis Theodorakis. Vielleicht war es diese Verschrobenheit und Kreativität, weshalb der Band aus Los Angeles ein größeres Publikum verwehrt blieb. Nun nach 18 Jahren Pause gibt es endlich mit „1938“ ein neues Savage Republic Album. Und zu welchem Label würde dieses Album besser passen, als zum Neurosis-Label Neurot Recordings? Eben. Trotz seiner enormen Spielzeit von ca. 70 Minuten treten beim Hören von „1938“ an keiner Stelle Ermüdungserscheinungen oder Langeweile auf. Da finden sich auf dem fast instrumental eingespielten Album Industrial-Sounds, mittelalterliche Klänge, Folk-Elemente, Psychedelic, Kraut-Rock, Impro-Musik oder auch mal jazziges. Ein besonderer Fokus wird dabei auf die Percussion- und Schlagzeugarbeit gelegt, sodass Savage Republic trotz seiner Ausgefallenheit ein sehr rhythmisches Album ist. Freunde von Bands wie Pere Ubu, Can oder den Butthole Surfers könnten bei „1938“ ihre helle Freude haben. Die Betonung liegt dabei auf „könnte“, denn Savage Republic sind einfach zu Eigenständig und als Solitär im Musikgeschäft anzusehen, dass man diese Band nur mit Vorsicht in gewisse Schubladen stecken sollte." [Independentkicks.de] "Los Angeles art-punk pioneers Savage Republic have come roaring out of obscurity with 1938, their first full-length album of new material in 18 years-- hot on the heels of this spring's powerful Siam EP-- both on Neurot Records. Throughout the '80s Savage Republic was a deep-underground phenomenon, playing highly unorthodox shows in remote desert locations, abandoned factories, skid-row parking lots, and grimy bars across the US and Europe with such luminaries as Einstuerzende Neubaten, Minutemen, Sonic Youth, and Live Skull as well as hardcore-punk slugfests with the likes of Bad Religion, Angry Samoans, and Final Conflict. Known for their oddly tuned guitars, tribal beats, shouted vocals, metal percussion (typically 55-gallon oil drums and items gleaned from dumpsters and junkyards), and Morricone-meets-Dick Dale melodies, their performances were at times ritualistic and occassionally involved fire and explosives. In their current incarnation, Savage Republic core members Thom Fuhmann, Ethan Port and Greg Grunke are joined by UK punk-rock veteran Val Haller, whose resume includes stints with Wayne County, Flying Lizards, Lords of The New Church, and X-Ray Spex, and noted drummer and percussionist Alan Waddington, known for his tenure with The Unforgiven as well as live and studio work with everyone from Willie Nelson to Gwen Stefani. The album also features contributions by guest artists including multi-instrumentalist Tara T. Tavi, classical violinist Julia Zuker, and drummer Bryan Taylor. While staying true to their roots, Savage Republic have updated and expanded their singular Mediterranean-surf-soundtrack-folk-noise blend into a musical hybrid both contemporary and timeless. Trademark scrap-metal percussion and layers of guitar drone are now joined by spooky ambient textures evoking sonic landscapes exotic, dreamy and sinister. An undercurrent of dread is never too far away. In keeping with their tradition of graphic excellence, the album is packaged in a tri-fold cover designed by and featuring the photography of Ramona Clarke-Fuhrmann. " [press release] www.neurotrecordings.com www.mobilization.com	2007	€13.00
	Meteora	CD	Hailing from the Los Angeles underground of the 1980s, Savage Republic forged an astonishing reputation for themselves as art-punk and industrial pioneers with their legendary performances. Their brand of ritualistically tribal exhibitions blurred the boundaries of Post-Punk and Industrial music. Their music incorporates minimialist bass rumbles, exotic and/or militaristic drumming, Arabic melodies, alternate tunings, primal chants and even a bit of surf guitar. Savage Republic released four full length albums in the 1980s, plus several live records and compilation tracks. 1989 everything went quiet as the republic scattered to pursue other interests and their labels and distributors folded. After reuniting in 2002 for a brief U.S. tour supporting the boxed-set reissue of their five studio albums by Mobilization Records, several of the members began sharing ideas for new songs, reviving the band officially in 2005. In 2006/2007 Savage Republic added drum professor Alan Waddington (the Unforgiven) to the line-up and released "1938" on Neurot Recordings, the band's first studio recording in 18 years. The limited edition "Siam" EP was also released on Neurot Recordings featuring alternate mixes of some of the "1938" material. With their first full-length album in seven years, Savage Republic return with some of their best work yet! Self-recorded in a secret cavernous location, their mix of tribal textures, political anthems and Morricone-esque surf instrumentals once again transport the listener to faraway lands at turns both sinister and beautiful. One of many highlights of "Meteora" is the pandemic inspired piece "Unprecedented"written by Wire's Graham Lewis that is sure to become a staple in their set list. This longest-lasting lineup of Thom Fuhrmann, Ethan Port, Alan Waddington and Kerry Dowling have infused all the power of their legendary live performances into a cinematic sonic dreamscape. "Very few artists can stand as being actually unique. Artists who make sound that fills the holes in your soul that nothing else touch. Savage Republic is one these very few. As a founding member of Neurosis I can say that we are very aware and vigilant of all things that happen around us. There is no tolerance for disruption in our ritual. For the last 13 years we have played one band and one band only for our preshow music, Savage Republic is the soundtrack that sets the tone for whats to come and what existed before." - Scott Kelly / Neurosis https://savagerepublic.bandcamp.com/album/meteora	2021	€14.00
	Tragic Figures (40th Anniversary Edition)	do-LP	Savage Republic: Tragic Figures (Expanded 40th Anniversary Edition) (Red Vinyl Edition) 2LP-Set Regular Version Welcome to the world’s first (and only) post-punk-industrial-trance-psychedelic-surf album! The fact that it took us so many adjectives to describe Tragic Figures lets you know just how unique of an album it is. Sure, there are echoes of other artists, like krautrock legends Can, post-punkers Public Image Limited (Savage Republic opened for PiL on their 1982 West Coast dates), avant-garde guitar players like Glenn Branca and Rhys Chatham, scrap metal industrialists Einstürzende Neubauten, and Bay Area sludgecore nihilists Flipper—but really, this unlikely product of (mostly) UCLA undergrads sounds like no other record before or since. And only adding to Tragic Figures’ mystique are its graphics, which displayed band co-founder Bruce Licher’s trademark letterpress printing and featured a UPI photo of rebels getting executed in Kurdistan, the ghostly images sharing space with a red lettering that gave the album’s title in script that roughly translated “tragic figures” into Arabic (which, in turn, had the unexpected effect of drawing more Iranian and Middle Eastern people to their shows)! Tragic Figures wasn’t just a bold musical statement; it was an objet d’art in its own right. For its 40th anniversary edition, we at Real Gone Music worked with Bruce Licher to preserve and expand on the magical, talismanic quality of the initial release. The original album has been remastered from the original tapes by Mike Milchner at Sonic Vision, while both the CD and LP editions both boast an extra disc of largely unreleased rehearsal recordings taped in the bowels of UCLA parking garages, where the band used to practice to take advantage of the extended reverb afforded by all the concrete surfaces (imagine being an unwitting undergrad happening upon this unearthly din coming out of nowhere)! Richie Unterberger’s liner notes feature interviews with band members Licher, Philip Drucker, and Jeff Long, and the LP comes with the original cover graphics expanded into a gatefold jacket pressed in heavyweight “chipboard” paper stock. Finally, the LP pressing is in red vinyl limited to 2000 copies. Clear your calendar and set aside a couple of hours to listen to Tragic Figures…you won’t end up where you started. Disc One Side One 1. When All Else Fails… 2. Attempted Coup: Madagascar 3. The Ivory Coast 4. Next to Nothing 5. Exodus Disc One Side Two 1. Machinery 2. Zulu Zulu 3. Real Men 4. Flesh That Walks 5. Kill the Fascists! 6. Procession Disc Two Side One 1. Attempted Coup: Madagascar 2. When All Else Fails 3. Kill the Fascists! 4. Real Men 5. The Vampire Bites 6. Next to Nothing Weirdness 7. Thee Three Preserves Disc Two Side Two 1. Sliding into Arabia 2. As It Was Written 3. Procession (Into the Light) 4. Exodus https://realgonemusic.com/products/savage-republic-tragic-figures-expanded-2-lp "Die erste legendäre LP von 1982 der damals als "Art-Punk" gehandelten kalifornischen Band, die auch politisch radikale Wege ging, ihren eigenen "Staat" gründete und mit eigenem Label & Druckerei versuchte so unabhängig wie möglich zu bleiben... TRAGIC FIGURES vereint auf unnachahmliche Weise aggressiven Industrial-"Rock" und politische Agitation (so z.B. im Stück "Kill the Fascists"), sehr perkussiv & tribal und oft mit Metall- oder Schrottschlagzeug und gebrüllten Vocals, aber auch eine psychedelisch-trancig "ethnische" Note ist hier bereits vorzufinden... was sich später zu ihrem unnachahmlichen oriental angehauchten Wüsten-Rock entwickelte..." [Drone Rec. 2002]	2022	€55.50
	Tragic Figures (40th Anniversary Edition)	do-CD	Welcome to the world’s first (and only) post-punk-industrial-trance-psychedelic-surf album! The fact that it took us so many adjectives to describe Tragic Figures lets you know just how unique of an album it is. Sure, there are echoes of other artists, like krautrock legends Can, post-punkers Public Image Limited (Savage Republic opened for PiL on their 1982 West Coast dates), avant-garde guitar players like Glenn Branca and Rhys Chatham, scrap metal industrialists Einstürzende Neubauten, and Bay Area sludgecore nihilists Flipper—but really, this unlikely product of (mostly) UCLA undergrads sounds like no other record before or since. And only adding to Tragic Figures’ mystique are its graphics, which displayed band co-founder Bruce Licher’s trademark letterpress printing and featured a UPI photo of rebels getting executed in Kurdistan, the ghostly images sharing space with a red lettering that gave the album’s title in script that roughly translated “tragic figures” into Arabic (which, in turn, had the unexpected effect of drawing more Iranian and Middle Eastern people to their shows)! Tragic Figures wasn’t just a bold musical statement; it was an objet d’art in its own right. For its 40th anniversary edition, we at Real Gone Music worked with Bruce Licher to preserve and expand on the magical, talismanic quality of the initial release. The original album has been remastered from the original tapes by Mike Milchner at Sonic Vision, while both the CD and LP editions both boast an extra disc of largely unreleased rehearsal recordings taped in the bowels of UCLA parking garages, where the band used to practice to take advantage of the extended reverb afforded by all the concrete surfaces (imagine being an unwitting undergrad happening upon this unearthly din coming out of nowhere)! Richie Unterberger’s liner notes feature interviews with band members Licher, Philip Drucker, and Jeff Long, and the LP comes with the original cover graphics expanded into a gatefold jacket pressed in heavyweight “chipboard” paper stock. Finally, the LP pressing is in red vinyl limited to 2000 copies. Clear your calendar and set aside a couple of hours to listen to Tragic Figures…you won’t end up where you started.	2022	€30.00
SCHÄFER, HELMUT & ZBIGNIEW KARKOWSKI	Eminent Risk Factor	CD	Sound? Geräusch? Klang? Nein, Energie umgewandelt in Klang! Transformationsmusik, eigentlich Genre-frei. Ein einziges Wummern, Strahlen, Zerreiben von akustischen Informationen. Leider das letzte Projekt von HELMUT SCHÄFER, der im April 2007 verstarb. "Internationally acclaimed sound artists Helmut Schäfer and Zbigniew Karkowski met for the first time in 1997. From then on, they maintained a close friendship and worked together on several collaborations, performances and music projects. Then years later, in April 2007, Helmut passed away. 'Eminent Risk Factor' gathers recordings from the last 2 concerts and studio session they ever made together. The master was finished on the last day they ever saw each other. In memory of Helmut Schäfer (1969 - 2007)." [label info]	2008	€14.00
SCHICKERT, GÜNTER & PETER UNSICKER	Mauerharfe	LP + CD	Günter Schickert, krautrock maestro of echo-driven psychedelia, returns on Marmo one year and half after the release of the Labyrinth LP. Mauerharfe consists of old and special material, which has officially never seen the light before. It is due for release on the eve of the 30th anniversary of Berlin Wall fall, in 12” LP with CD, CD and digital formats. The physical versions contain exclusive pictures, linear notes, a prose poem by Peter Unsicker and some draft writings by the artists with reflections on the project. Berlin, August 1990, first post-wall Summer. Two friends, the locals Günter Schickert and gallerist Peter Unsicker perform a spectacular yet symbolically intimate interpretation of those epochal changing days by building a sound installation with a damaged piece of the Berlin Wall. They persuade the patrol “Feliks Dzierzynski” of the Western German army to transport and relocate a the piece outside Peter`s Wall Street Gallery on the Zimmer Strasse, in the borough of Mitte, where only a few months back the intact structure actually passed through.  Once the wall was positioned, they bend down the bars of the iron structure that crop out the concrete, bind piano chords to them, stretch the strings down to the bottom base of the construct and connect guitar amplifiers to the set up. The Berlin Wall is ready to be played as a harp. Günter Schickert`s Mauerharfe are executed between August and October 1990, resulting into three long field recordings. Side A features a 19` long piece. The tape-induced background noise lays down a carpet of haunting atmospheres and introduces the experiment. Günter starts to test the chords by pulling out, with his fingers, dry and acid timbers. The warm up evolves by investigating wider sinusoidal waves and dilated metallic riffs. The track takes the form of a more conventional music narration, as the artist bangs the harp with a sort of rudimental violin bow creating marching percussive patterns. Layers of psychedelic ambience take over the scene before mixing up with roaring industrial spasms. Lunar sceneries seem to emerge, paving the way to sudden strings feedbacks, crackling distorted clicks and menacing reverbs. Flipping side, a similarly long take opens up with ferocious urge, like being catapulted into a warfare between iron and cement, sounding like a real military operation. As the strings get hit and pulled, the metal seems to crash into thousands of pieces, dissolving into merciless distortions. Yet it is intriguing to notice how these dynamics of madness occasionally generate wavy and gentle sub-harmonics. This piece adds up intensity in comparison to the previous one, containing enhanced abrasive and distorted frequencies. The final part is marked by monstrous echoing rhythms, before drifting back to a chaotic rumble of fire, metal and concrete. The third piece, Mauerharfe 3, is a 30 minutes long performance dated August the 13th 1990. As Schickert recalls, 29 years before exactly on that same date, the construction of the Berlin wall was accomplished. This take appears exclusively on CD, with copies included inside the vinyl package and as a separate CD format release. The recording is cleaner than the previous two, giving more width and definition to the sounds. As opposed to Mauerharfe 1 and 2, where the wall of sound is overwhelming, in this 3rd take human presences can be heard : fragments of women voices, a baby crying, the siren of a police car. The compositional approach is more sober, the tones of the harp warmer, closer to an actual one, its notes more gentle, discrete and meditative, sometimes resulting into deep, gong-like percussive timbers. As Günter Schickert claims, the idea behind the project was the one of representing, in a personal musical way, the feelings and sensations that he – as well as many others experiencing the division and eventually the removal of the Wall - felt through the decades around the presence of this monstrous separator. The wall becomes an instrument, seen both as an object and executor of the experiment, while the human and artistic presence almost vanishes. The atonal and harsh sounds embody the ugliness of an inhuman separation, the terrible echoes of prisons and the lament of its prisoners. The pulling of the strings suggests the repression of a regime, while releasing these it indicates a dash of freedom. You can get lost into the intensity of the Mauerharfe, find always new sensations and a countless amount of details. If you approach the listening with adventurous spirit and a good dose of curiosity, it can really throw you back into the past, a past of segregation, austerity and suppression, yet of an urging desire of liberation. https://marmomusic.bandcamp.com/album/g-nter-schickert-peter-unsicker-mauerharfe	2019	€22.50
SCHUMACHER, MICHAEL J.	Four Stills	CD	Eine faszinierende Klangwelt entwirft MICHAEL J. SCHUMACER auf „four stills“. Hochfrequent-undurchdringliche Geräusche erinnern an organisches, unbekanntes Leben, Anklänge an JOHN HUDAK, LOPEZ, CHARTIER... “Sedimental’s first release for 2002, Four Stills, is from New York composer/guitarist Michael J. Schumacher. Schumacher has a strong presence on the experimental scene with his refined guitar “drone” compositions but parallel to this activity he has been working with number system applications of sampled material through electronics, a direct extension of his audio installations. Schumacher is also internationally recognized along with his wife and artist Ursula Scherrer, who designed the artwork for this release, for the outstanding Studio 5 Beekman space (now Diapason on 6th Ave.) that provides a sympathetic environment for audio artists to execute installations. The participants in this project read like a who’s who of leading-edge composers and experimental musicians. Our reaction to material originally considered for Four Stills was nothing short of breathtaking. Where as much digitally generated material succumbs to a hermetically closed world of glitches and electronic landscape Schumacher’s work opens up this environment, despite the density of the material, into a breathing, organic spaciousness while still maintaining the intimacy inherent in the form. ”The Four Stills are expressions of the number system that I have used since 1989 in my electronic compositions. These numbers form the basis for dozens of rhythmic processes executed by the computer, from playing a midi grand piano, to deciding a range within a sample buffer to play, to determining larger structural aspects such as the alternation of sound and silence within a particular part. The fact that they are prime numbers prevents predictable patterns from emerging. The limit of six maintains structural coherence. The Four Stills were recorded direct to stereo in real time. Though the sounds used in a given piece are predetermined, their interaction with each other over time is left to chance. These pieces are extensions of my installation pieces, which evolve over long time periods, and are also created in real time by generative algorithms. However, in contrast to the installations, which utilize distance as an important perceptual feature and employ as many as 16 independent channels of sound, allowing for meaningful variations in texture, these recordings, being limited to two channels, are more compact in their presentation of the sonic material. They therefore remind me of certain styles of painting, which present the spectator with a static field of color that is experienced in no particular order. Though the music obviously unfolds over time, the analogy seems appropriate to me, since the dense textures (sometimes as many as 27 simultaneous parts) invite a contemplation of the many layers of sound and their relation, not in time, but in space.” Sedimental is honored to make available the rarely heard digital works of Schumacher to a wider international audience-a dynamic composer who has provided a unique aesthetic forum for some many like-minded composers as well.” [press release]	2002	€13.00
SCOPOPHILIA	Violent for being sexually desired	CD	Violent For Being Sexually Desired is the debut album by SCOPOPHILIA, the collaborative project from Harriet Kate Morgan (aka MILITARY POSITION) and Ester Kärkkäinen (aka HIMUKALT). One cannot write about Scopophilia without discussing the female condition, as both artists sublimate their own biographies and biologies into sound. Literally, 'scopophilia' means an extreme sense of the male gaze, with the woman bearing nothing but her own sexuality. Yes, this album is a fractured autobiographical rendering on the inherently fraught situation of being a woman; but more so, it is a raw production of power electronics, industrial decadence, and provocative discipline. Although leading different lives in separate countries, the two share a number of similar influences, SPK, Atrax Morgue, Brainbombs, Lustmord, Vatican Shadow. Their respective solo work is largely industrial and can be quite minimal in comparison to Scopophilia. In the album's dark techno rhythms - heard on tracks such as "I Would Die For You" and "She . Her . Myself. And I" - Scopophilia create a unique and completely different sound altogether from their solo work. These tracks are lurid, sensual, intimate, and violent all at once, stirring visual images and narrative fragments through the noise. Both Morgan and Kärkkäinen have a past experiences as sex workers, and they believe this album could be their own private soundtrack to a strip club or a dungeon. The album is more than a synthesis of the bruised noise from Military Position and postmortem electronics from Himukalt, through an uncanny communion of misery, mania, sexual addiction, innate trauma, the loss of self, the aftermath of abuse or controlling situations, the horror of being in a female body and the subsequent feelings of entrapment this brings. The record has an element of complete sadness and abandonment but also embodies some sort of empowerment - a moving forward, a sense of revenge. Violent From Being Sexually Desired brings forward a definite vignette of female sexuality but framed more as a sort of ailment, a disease, something that isn’t desired or warranted and the thoughts that run through one’s mind as a result. It acts as a sort of diary, a commentary on their past and their subsequent feelings of disempowerment as well as thoughts on what it is to be a woman and industrial artist. CD comes in a six panels digipak plus 12 pages booklet. Tracklist: 01. Wortless bitch 02. I would die for you 03. Pristine 04. Violent for being sexualy desired 05. Maybe she was asking for it 06. She. Her. Myself. And I 07. Lipstick 08. Casting Disperisions https://www.oldeuropacafe.com/catalog/cd/violent-for-being-sexually-desired.html	2021	€16.00
SCOTT, SIMON (SIMON SCOTT)	Insomni	CD	"Couldn't sleep arose to forage for sound. The hum of the fridge encouraged further investigation of hidden, domestic sounds; the fish tank, dvd player, a broken laptop Dawn and morning light allowed more sound and the guitar, in its case, beckoned From darkness to light Guitars: Guild 12 string D-125 & Vintage Guild 6 string GF-25. Mics: Induction coil pick up & Hydrophones. Buddha Machine pre-recorded and mixed, then re-recorded at Holme Fen Posts using mobile speakers. Recording device: Edirol r-09. Radio: static between stations. Software: Max MSP (self-programmed), Supercollider & Logic Pro. Simon Scott (b. 1971) is a British multi-instrumentalist who is currently based in Cambridge, UK. Insomni is his fourth album and his debut for Ash International and is published by Touch. His music is a fusion of digital signal manipulation combined with an aesthetic of compositional collaboration with environmental sounds and organic acoustic textures. He is inspired by his interests in sound ecology, music technology, the natural world, illustration, photography, composition and sonic art. Below Sea Level, originally presented live in quadraphonic sound, was released on Touchline in March 2015, after 12k originally released the album in 2012 as an 80-page journal and seven track CD. It explores the aesthetics of active listening, sound ecology and the subjective distinction of compositional materials and sound timbres. Critically applauded for creating juxtapositions of analogue and digital timbres, the man-made and natural world sounds, captured in his local sunken landscape of The Fens in East Anglia, create a fusion of digital signal manipulation combined with organic acoustic textures. Since the late 1990's Scott's solo work has been featured in a variety of international films, sonic art exhibitions, dance productions, television productions and digital multi-media projects. He has toured worldwide since 1988 and he is the drummer for UK band Slowdive, who worked with Brian Eno on 1993 'Souvlaki' album. His track 'Für Betty' was included on the German label Kompakt's 'Pop Ambient' (2014) compilation series and his solo music has also been previously released on recording labels 12k, Morr Music, Miasmah, Sonic Pieces and Ghostly International. Scott is also a freelance composer and sound recordist for film and television and recently appeared on the BBC program 'Springwatch Unsprung' recording aquatic wildlife and discussing his work with presenter Chris Packham. He has taught Music Technology and sound recording in Cambridgeshire and lectured at Cambridge University. In 2008 he established the KESH recording label, releasing global artists audio and visual projects and he has also collaborated on various projects with Taylor Deupree, Nils Frahm, Machinefabriek, The Sight Below, Isan and James Blackshaw." [label info] "There are people who know Simon Scott as member of the renown shoegazer band, Slowdive. I have, unfortunately, never got into their music during their reign (even now I can see Rafael Anton Irisarri glaring down at me for this comment). I have, however, come upon Simon Scott's music back in 2009, where, for the first time since his playing drums for Slowdive, he has ventured out to release a solo album. Since then, Scott's music appeared on many of my favorite labels, such as Miasmah, Low Point, Slaapwel, and even 12k. Scott also runs and releases on his very own imprint, Kesh Recordings. His latest full length, Insomni, lands courtesy of Ash International, a long running outlet for Mike Harding, who is already busy with curating releases for Touch. Insomni opens up with a slowly rising guitar strum slash drone slash noise, perfect as a soundtrack for my early morning walk, as I step out towards a lethargic and barely visible sun. The volume ascents with the climbing star, and soon envelopes every cell of my body. Gentle ambient soundscapes are intermixed with growling distortion, and it is this cocktail of dynamically opposing sonic vibrations that awakens my neurons, and a smile creeps in. The thunder eventually dissolves into a field recording of chirping birds, and Scott's guitar chords tell their story. Those awakened in the midst of night will recognize this texture of insomnia, mixed with fleeting thoughts within an empty chalice of a mind, and distant sounds of the universe unfolding on its own... all on its own... Couldn't sleep... arose to forage for sound. The hum of the fridge encouraged further investigation of hidden, domestic sounds; the fish tank, dvd player, a broken laptop... Dawn and morning light allowed more sound and the guitar, in its case, beckoned... From darkness to light… -Scott Insomni pursues its tale through a set of repetitious passages, shimmering light and lo-fi fabric. These are accented with environmental sounds (including the pickup of a cellular electromagnetic interference), wrapping this reverse lullaby into an organic aural pillow of music to wake up to. My favorite moment on the album enters with Scott playing his acoustic guitar (the press release credits a Guild 12-string D-125 and Vintage Guild six-string GF-25) - this is where Scott's talent as a multi-instrumentalist truly shines - it feels like Simon Scott is all this music, all these sounds, all this one. This is a beautiful record to add to your collection, and if you buy directly from the label you will receive two bonus tracks not available anywhere else. Highly recommended for fans of Rafael Anton Irisarri, William Basinski, Lawrence English and Christian Fennesz." [headphone commute]	2015	€15.00
	Floodlines	CD	Recorded live at Cafe Oto as part of “Touch presents…” on 31st January 2016 Simon Scott is a sound ecologist and multi-instrumentalist from Cambridge, England. His albums ‘Insomni’ (Ash International) and ‘Below Sea Level’ (12k / TouchLine) are out now (see above). His work explores the creative process of actively listening, the implications of recording the natural world using technology and the manipulation of natural sounds used for musical composition. He plays the drums in Slowdive and has recently collaborated with artists James Blackshaw, Spire, Taylor Deupree (Between), Isan + many more. This is his first physical release for Touch. Source material recorded in The Fens, East Anglia. Simon Scott's blistering live set from London follows his 2015 album ‘insomni’ but features his field recordings of areas of The Fens in East Anglia that cartographically are below mean sea level. They’re complimented by underwater hydrophone recordings taken on field research trips, making the unheard audible and brings the unseen to the surface. It’s a flat landscape that was devastated by the draining of The Fens in the 17th century. The ecosystem was damaged but these areas have been left to reflood and re-establish it’s vernacular wildlife, replete with its own instrumentation and orchestras. Tapping into these, Scott's vision encourages us to explore the fertility of the flatlands of England. www.touchmusic.org.uk	2016	€11.00
	Migrations	LP	https://simonscott.bandcamp.com/album/migrations Simon Scott on "Red Square": "Field recordings captured during a day under Moscow's Red Square in the underground metro in 2015. It has a narrative of motion as my microphones move with me through a vast sounding environment. The space reveals the aural diversity of the people moving beneath the Russian city of Moscow, the complex acoustics, and complex rhythms mixed together in a subterranean space. These communitive sonic events transformed my perception of space and time as reverberant boundaries led my ear into unknown acoustic destinations." Simon Scott on "Murmurations": "Recorded in March 2018 at RSPB Strumpshaw Fen in, Norfolk, UK using DPA 4061 microphones. I was showing Australian sound artist Lawrence English around the Fens of East Anglia, when he requested we head to Buckenham to find a flock of crows roosting. I recorded the spectacular murmurations of thousands of crows, rooks, and jackdaws, as the spring sun slowly set at dusk, and deer ran across the marshes. The field recordings are accompanied by a gradually shifting modular synth tone, that musically represents the slow change colors, until the light fell off the horizon. Photography and design by Jon Wozencroft. Vinyl mastered at SPS Mastering; cut by Jason @ Transition. Edition of 300. Simon Scott is a British composer, mastering engineer, and sound artist from The Fens in Cambridgeshire, England. His albums: Soundings (TO 112CD, 2019), FloodLines (TONE 053CD, 2016), Between (12k, 2012), Insomni (ASH 11-4CD, 2015), and Below Sea Level (12k/TouchLine, 2012). His work explores creative methodologies of field recording, the process of active listening, the implications of recording the natural world using technology and the manipulation of natural sounds used for musical composition. He has recently collaborated with artists Taylor Deupree and Marcus Fischer (Between), Fennesz, Claire M Singer, Philip Jeck, James Blackshaw, Rafael Anton Irisarri (Orcas, The Sight Below), Nils Frahm, and many more. He is also in UK group Slowdive.	2020	€20.00
SEAWORTHY + MATT RÖSNER	Two Lakes	CD	"In April 2010, 12k recording artist Seaworthy (the recording project of Cameron Webb) and Matt Rösner traveled to the south coast of New South Wales to undertake a detailed field recording study of two coastal lake ecosystems at the Lakes Meroo and Termeil. The aim of the project was to explore the sounds of a fragile coastal Australian environment and to build from those sounds unique musical pieces that provide a place for listener contemplation and reflection. Field recordings were taken from the lakes and surrounding beaches, forests and streams at different times of the day. Various equipment including a hydrophone, a shotgun and stereo microphones were used to capture the natural sounds of each lake. During breaks in field recording, the artists set up recording equipment in a nearby lakeside cabin. Using acoustic and electric guitars, a ukulele, and electronics, a series of improvised performances were documented. On the last day of the trip, with the experience of the recording process still fresh in mind, rough arrangements were created from the field recordings and improvised sets. Matt Rösner then took these arrangements back to his studio in Myalup -- a small coastal town on the opposite side of the Australian continent -- to mix and finalize the production. Both Rösner and Webb have been active in the Australian experimental music scene for over ten years, with a plethora of releases on local and international labels sharing a similar vision of molding found sounds and field recordings with traditional instrumentation and electronics. Aside from shared musical interest, both artists grew up in close connection with the Australian coastline, albeit on opposite sides of the continent. This connection with their landscape as a remote and diverse place is evident in the pieces created by the artists during their collaboration on the South Coast. Two Lakes marks the third full-length appearance for Seaworthy on 12k following 2006's Map In Hand and 2009's 1897 and blends his signature guitar style with the beautifully arranged field recordings and electronics of Matt Rösner. Two Lakes is a strikingly stark and lonely album undeniably influenced by the remote recording cabin and delicate Australian ecosystem. The blend of instrumentation comes off more like a natural, live duet between artist and nature than a modern-day layered recording. Webb's finger-picked acoustic guitar and ukelele play off of the sounds of wind, reeds and insects in perfect harmony, supported by soft beds of eBowed drones and careful electronic tones. Despite their human presence, Rösner and Webb manage to create music that resonates on another level, as if composed by the lakes themselves." [label info] www.12k.com	2010	€14.00
SEETYCA	Zwischenwelten	CD	We are once again delighted to welcome seetyca to our label, for the release of his new CD album Zwischenwelten. ‘Zwischenwelten’ is an immensely deep journey, characteristic of seetyca’s music. The listener is pulled between worlds, shrouded in dense layers of fog or pinned to the edge of a scene, forced to watch as an observer, while the part plays out. Interspersed with environmental sounds, and both electronic and traditional instruments, ‘Zwischenwelten’ is a beautiful, hypnotic album switching between what is real and what is perceived to be real by the listener. The album is laced with lush melodies, light ambient touches and otherworldly samples which bring to this piece a welcome sense of detachment. For this release, seetyca has been joined by a number of contributing artists including Thom Yeesland (ambiant guitar sounds), Julian Eckstein (trombone) and Kris Caelis (glockenspiel and environmental sounds). seetyca himself plays an array of instruments including e-maschinen, samplers, ocarina, recorder, zither and acoustic guitar to name but a few. seetyca certainly likes to pack his albums to the hilt, and this release is no exception. The cover design and layout has been created by Midnight Sun Studio, based upon original artwork from Edward Valerans III. CD comes in a 6-panel full colour digi pack. 9 tracks with a total running time of 79:35 mins. 1. magnitogorsk 2. the clouds form a smile 3. der schwimmer in dunckel 4. im schragen wahn lebt sichs am schonsten 5. wem trauen? 6. hide my phace, hide my heart 7. before it’s dark, before it rains 8. verstrahl.to 9. jennyssey www.winter-light.nl	2016	€13.00
SHASTA CULTS	Shasta Cults	LP	"Shasta Cults is the musical project of Canadian electronics technician Richard Smith. For almost two decades, Smith was the official Buchla & Associates go-to repair person for studios, collectors, and musicians around the world, having worked with artists like Aphex Twin, Suzanne Ciani, Mort Subotnick and institutions like NYU, The Library of Congress and Mills College in Oakland, Ca. Recording demonstrations of the rare equipment that found its way on to his workbench is how Smith describes the origins of Shasta Cults. Although sounds have been trickling out for decades via Soundcloud and other outlets, it wasn’t until 2017 that Smith recorded his first album using one of these rare instruments – the Buchla 700. Configurations, released this past September by Important Records, features eight tracks of heavily-modulated, wave-shaped explorations drenched in effects, and was the catalyst for his latest releases. Recorded over the span of 3 months in the fall of 2018, this album was programmed solely on the only fully-functional Buchla Touché. Developed in the early 1980s with hardware by Don Buchla and software programmed by musician David Rosenboom, the Touché features waveforms generated internally by twenty-four digital oscillators using frequency modulation and sophisticated digital and analog signal processing for timbre and output assignment, all of this controlled via a six-octave black and white keyboard, unusual for a Buchla instrument. This LP is a continuation on themes first heard on Configurations, with more consideration given to the generation and capturing of the pieces. This album is less dark than previous releases, showcasing the incredible fidelity of the hardware used and Smiths evolution as an audio engineer. Put on some headphones, find a comfortable chair, and let this LP transport you to the mystifying southern cascades of Siskiyou County." [label info] "To the uninitiated, the complexities of electronic synthesis can seem daunting and foreign. Even for those well versed, complete mastery over those systems seems like a lifelong task given the seemingly infinite nature of their design. Richard Smith, the synthesist behind Shasta Cults, has worked as an official technician for Buchla gear for nearly 20 years, and has an intimate mechanical knowledge of the company's many machines, which have achieved near-fetishistic status over the past decade. On Shasta Cults' self-titled album, Smith demonstrates a rare virtuosity of the Buchla Touché (of which there were only four made) that illustrates not only the power of the machine to sculpt uncanny textures but also Smith's singular compositional style. Smith's work is compact and economical, a contrast to the protracted compositions that define the remaining core of Important Records' contemporary synth roster, including Eleh, Caterina Barbieri, Alessandro Cortini and Jessica Ekomane. Drones and arhythmic swells comprise the basis of most of the six pieces on Shasta Cults, but rather than letting them marinate he focuses on dynamic layering and timbral juxtapositions. Shasta Cults originated from Smith's desire to demonstrate the range and abilities of the various Buchla models he was repairing and restoring, and this approach seems directly derived from those roots. Within each track, he's able to cover a surprising amount of ground. If you didn't know the music was created all on one machine, you'd be forgiven for assuming these tracks were realized using a much more diverse arsenal. The album begins peacefully, and with restraint. "Prologue" hovers with a sense of placid melancholy, bass tones cycling in and out of the mix. Its clean tones sound glass-like, smooth and nearly transparent as they fade in and out of the audible field. Other moments have more bite. "DA3" features coarse waves of sound that resemble aural quicksand, gulping the listener up in successive, oozing surges. This buzzing intensity is overlaid with dramatic, organ-like stabs that appear triumphant in the face of the pulsing chaos below. On the drone track "Incline," Terry Riley-esque tones swirl back and forth over an increasingly resonant bass hum. The closer, "Chinook," with its apprehensive melodic fragments that open up into a yawning, fuzzed-out climax, leaves the album feeling unresolved in a way that feels entirely purposeful. Gear worship for its own sake can be tiring, but the music on Shasta Cults is too expressive to be pigeonholed simply as exercises in technological know-how. The recent Buchla boom has led to many different approaches over the past few years, but Smith's Shasta Cults project stands apart not just because he has access to the rarest models or has such an intimate knowledge of their notoriously unpredictable, generative circuitry. He uses this knowledge to create music that is richly textured without becoming dense, and like all masters of their instrument he knows how to dance elegantly between complexity and simplicity. It is that dance that makes Shasta Cults feel special." [Resident Advisor]	2019	€26.50
SHEFFIELD, COLIN ANDREW / JAMES ECK RIPPIE	Essential Anomalies	do-LP	Colin Andrew Sheffield (sampler) and James Eck Rippie (turntables) began playing music together in Dallas, Texas in 2000 and released their debut LP, "Variations," a year later. They separated soon afterwards, relocating to cities 2,600 miles apart; and though they continued with solo work, they remained inactive as a duo until recently. During this hiatus, Sheffield stayed busy dealing antiquarian books and running his Elevator Bath label; Rippie became an accomplished sound mixer for major motion pictures and television shows. And yet the collaboration between these two friends of a quarter century has always held a special significance (as Francois Couture of AllMusic stated: "The level of understanding between [these two artists] ... commands respect"). So, in 2015, when the two found themselves both living in Austin, a reactivation of their improvising duo was a happy inevitability. "Essential Anatomies" is the fruit of the pair's renewed efforts. Comprising four pieces originally issued on limited edition cassettes and now widely available for the first time, the double LP is an experiment in audio collage and instant narrative composition. The main tools are sounds from the past: commercially available recordings manipulated and sculpted into a medium with inherent potential. Unlike their plunderphonic ancestors and contemporaries, however, Sheffield and Rippie place a heavy emphasis on atmosphere and a kind of musicality. Their work is surprising and challenging, but it is infused with their keen sense of structure and listenability. Elements of sound art, drone, glitch, and noise emerge from their altered samples. These sounds have been stripped of any extraneous cumbrances, leaving just the crucial components. The parts that remain, the essential anatomies, form the basis for an ongoing abstract dialogue between two artists with a remarkably developed affinity. The results capture dual streams of consciousness, coursing with a description of nonrepresentational beauty. "[B]est described as abstract plunderphonics. Sheffield and Rippie use samplers and turntables to sculpt the past into new forms that defy instant categorization; suffice it to say that the old has never sounded so new." - Richard Allen, A Closer Listen "Essential Anatomies" has been released by Elevator Bath as a limited edition double LP, copies of which are also available here: www.elevatorbath.com Mastered for vinyl by James Plotkin Cover art by Eugenia Loli credits released July 7, 2017 Colin Andrew Sheffield (b. 1976, El Paso TX) is the founder of the Elevator Bath recording label. He has released a number of solo recordings on labels such as Invisible Birds, Mystery Sea, Quiet World, and 23five. James Eck Rippie (b. 1977) is a visual/sound artist originally from outside Nashville TN. His recorded work has been as a turntablist, but he has also worked extensively with other instruments and mediums. He has released his work with the Crónica Electronica and Sirr labels, among others, and has collaborated with sound artists Simon Whetham, Paulo Raposo, and eRikm. Sheffield and Rippie will tour the US this summer. elevatorbath.bandcamp.com/album/essential- anatomies-3 "Compiling recent small-run cassette works into a luxurious double record set, Essential Anatomies represents a reunion for the duo of Colin Andrew Sheffield and James Eck Rippie. Collaborators since 2000 and friends for even longer, the four lengthy recordings here capture their Texas reunion in 2015, and with its undeniable sense of complexity and cohesion, makes it clear that they have not missed a step from their time apart. On paper, what Sheffield and Rippie do is well-trod ground: processing and recontexualization of samples and other forms of pre-recorded music. But rather than being another pair of John Oswald wannabes, they do so with distinct expertise and precision. To use a slightly abstract metaphor, they are much closer to Public Enemy’s Bomb Squad production, taking bits here and there and using them as elements in a much different whole, than they are Puff Daddy’s wholesale plagiarism and lack of innovation. The first of the four lengthy pieces (each around 22 to 23 minutes long) is an instant launch into the gloom that is Essential Anatomies. Chilling, piano like scrapes cut through a blackened, churning abyss of sound. Some shrill, sharp bits pierce through the darkness here and there, but the piece largely stays pleasant, even though it is rather bleak and covered in a nicely noisy sheen of fuzz. Tortured, almost melodic tones occasionally shine through a wall of ghostly drifts and heavy rumbles, at times heading toward a bit of harsh crunch, but stays in check. The melodies appear here and there again, acting as a slightly less oppressive counterpoint to the sound of decay that surrounds it. Finally, the duo end the piece on a lighter note, like sun shining through menacing gray skies. What is abundantly clear right from this start is that Sheffield and Rippie are not only extremely proficient at creating moods and space with their samplers and turntables (respectively), but also a creating dynamic compositions that are quite expansive and varied, changing often but returning to reoccurring motifs that results in a more composed, rather than improvised sound. The second piece allows a bit more of their source material to shine through, mostly in the form of piano notes and what sounds like frozen reverberations of chimes far in the distance. There is the same sense of space, but erratic loops and mangled notes result in a composition that builds in tension, eventually transitioning into haunting church organ like walls that dominate the latter half of the piece. Comparably, the second record comes across a bit less melodic and a bit more textural in the composition and structure. Part three begins with an almost percussive, crunching machinery like opening that is eventually melded with a batch of wet, almost organic like noises and radio static. Bits of recognizable music still sneak through here and there, but it is less the focus. Instead, metallic sweeps and unnatural field recording like sounds fill out the mix, though it ends on a slightly more ambient note. The final composition first is free and spacious, with some crackling tactile like elements at first, but soon it takes on a decaying sound. More organ and mangled string fanfares give a more conventional signpost here and there, but by the end the duo has already transitioned the sound to one of tension and fright, slowly evolving into an uncomfortable silence to end the record. While I do not believe I could ever manage to place the source of the sounds Colin Andrew Sheffield and James Eck Rippie utilized in making Essential Anatomies, never does it feel like the two overly processed or from their source. Meaning that, there is some of the original character left from the source material, however subtle it may be. Instead these audio building blocks are obscured but tastefully utilized to construct these atmosphere heavy works. Rippie’s day job is a sound mixer for films and television shows, which surely aided the two in creating the cinematic mood that these two records conjure up. It is that combination of sonic nuance and compositional strength and diversity that make Essential Anatomies so good." [Creaig Dunton/Brainwashed]	2017	€25.00
SHIFLET, MIKE & DANIEL MENCHE	Stalemate	CD	"Mike Shiflet and Daniel Menche: Hammond organs and electronics. Recorded in 2007/2008. Mastered in the analog domain at Stereophonic Masting in Portland, Oregon. Mike Shiflet is one of the most interesting artists of the new US noise scene. He ran the Gameboy label with 100 releases in 10 years and, as musician, besides his solo recordings, he worked with C. Spencer Yeh/Burning Star Core, Brendan Murray, Francisco Meirino/Phroq & many others. Daniel Menche is recognized since late eighties as a major figure of the experimental music world, exploring the fringe between noise and drone in a heavy and organic way. For 20 years Daniel Menche has harvested a vast discography of solo and collaborations. Stalemate, the first collaborative work between these two prolific American artists, is based on Hammond organ sounds and electronics. The result is a heavy body of work - a powerful drone based music with densely textured sounds and some deep bass that'll make your walls shaking." [label info] www.sonoris.org	2009	€12.00
SHOEMAKER, MATT	Erosion of the Analogous Eye	CD	"As said in the review of the new CD by Jim Haynes there is a small school of drone musicians, mainly from the USA who deliver some of the more darker outing in the scene. There are of course minor differences to be spotted. According to the cover of Schoemaker's new CD 'environmental phenomena' where recorded in Indonesia, Cambodia and USA, but its hard to spot these on the actual music, as he feeds them through a whole bunch of analogue synthesizers, guitar stomp boxes, reverb and such like. Only in the last piece 'The Analogous Eye' bird calls and wind sounds rise out of the mass, but even here things seems electrified. This makes that Schoemaker's music is altogether more 'electronic' in nature than that of Haynes or Irr.App.(ext.) and also a bit more 'louder', industrial perhaps. In his music he depicts empty industrial sites of long sustaining, rusty sounds of rusty object on even more rusty surfaces. The two parts of 'Erosion' are highly minimalist affairs of long sustained sounds. Not to be confused with the current wave of 'cosmic' sound artists, this goes further and deeper. An excellent work, sadly perhaps limited to 300 copies only." [FdW / Vital Weekly] "The studio of Matt Shoemaker is alive with electricity. Impossibly complex wirings channel signal in and out of analog synth modules, an array of curious aluminums boxes with unmarked knobs, slinkies strung from ceiling to floor creating a set of giant spring reverb units, accelerometers attached to consumer electronic errata, and even a few conventional tools like guitar stomp boxes and a bruised computer. For all of the convoluted engineering that goes into Shoemaker's equipment, the resulting mesmerism in sound appears effortless and strangely organic. Shoemaker has enjoyed a semi-obscure career through his polymath activities that bridge such electronic experiments with a choice library of globe-trotted field recordings and a broad knowledge of avant-garde cinema. For Erosion of the Analogous Eye, Shoemaker waves his hands about his laboratory to construct an ever-evolving album for mutant dronemuzik. His electrical seas of synthetic bristling undulate with placid regularity, only to find Shoemaker contorting these brain-melting psychedelics into cancerous, atonal bellows. Out of his allotropic shifts, one can find swells of irradiated static transform into the graceful chime of temple bells; and electrical phase patterns slip into deep forest murmurings dotted with narcoleptic birds calls. On one hand, this album is prescient of the revival for progressive electronics currently underway in the flood of US post-noise projects; it's easy to triangulate this between Emeralds and Heldon. But on the other hand, Erosion of the Analogous Eye is the continuation of where Shoemaker had begun with his early work on Trente Oiseaux with its grotesques exaggerations of field recording into this beguiling piece of art. The artwork on Erosion of the Analogous Eye features unique hand-dyed abstractions mounted onto letterpressed paper. This has warranted a very small pressing of 300 copies." [label info] www.helenscarsdale.com "A very prescient, and very good, record by the sound-artist / field recordist Matt Shoemaker, Erosion Of The Analogous Eye pushes his work of tonal exploration and exaggerated found sounds into the neighborhood of many of the post-noise cosmic explorers who have been blossoming in every corner of the US it seems. At the same time, this is very much a Matt Shoemaker record, following a trajectory set forth through his acclaimed work on the once-mighty Trente Oiseaux label. An ur-drone of analog synthesis opens the album, obviously harkening to '70s kosmische activities certainly a muscular revisitation of Schulze or even an extraction from Richard Pinhas. Such a lazerbeam of a drone has a lysergic sunrise feel to it, with the light and shadow brought into sharp relief, the colors shifted and separating into spectral bursts of yellow, red, pink, and orange. Yet, slowly, Shoemaker introduces atonal drones which clash with that introductory suspension. At first, the metallic slashes have almost an Andrew Chalk and Jonathan Coleclough feel, but Shoemaker quickly dispels those notions with a layer of field recordings of insects ravenously scurrying about. That introductory tone, which still continues through this first track, bends like a divebombing plane with Doppler tones trailing behind, descending in a series of bell tones. All of this in a seamless 17 minutes. A steady rhythm of gamelan bell tones opens the second track with accumulated complimentary drones shimmering and vibrating while harmonic dissonance abounds, collapsing into a quiet stream of percolating textures. Spread across 24 minutes, this track seems ancient and sounds beguilingly beautiful. Bellowing rumbles amplify out of recordings of rain, mud, and water and steadily arching through a metallic rattling of various pipes and gongs for the final track, which eventually gives way to an uneasy set of recordings of birds in a rainforest whose calls echo through the trees. As with all Helen Scarsdale releases the packaging is stellar. Letterpressed text with hand-dyed paper. Each are different, each are quite special. Oh yeah, limited to a mere 300 copies!" [Aquarius Records]	2009	€13.00
	Tropical Amnesia Two & Three	do-CD	"In November of 2007 I was part of a group of eleven sound artists who journeyed to Brazil to participate in the Mamori Sound Project, an annual residency/workshop under the direction of Francisco López that convenes in an isolated area of lowland lakes and rainforest, perhaps around 4 hours' journey outside of Manaus, right in the heart of Amazonia. I had some very limited experience with tropical rainforests from travels in South East Asia, but nothing like the immersion that was central to what Francisco had organized: direct access to a staggeringly diverse bioacoustic environment unmatched anywhere else on Earth. Over the course of the two weeks we spent at Mamori lake exploring and recording, there was never a pause in the stream of curious animal sounds. Not even during sleep, as the nighttime would roar to life and pass into dreams. I had come prepared with the equipment that I could afford to bring: a pair of condenser microphones, several homemade contact microphones, and a single hydrophone. With these I was able to capture all of the sounds used to make the three Tropical Amnesia parts. While assembling the field recordings, I was immediately drawn toward the idea of imagining the rainforest, and the bodies of water contained within, as an unfathomable void of sorts, and something beyond thescope of enduring memory. Reflecting on my own memories from Mamori Lake and the surrounding area, I can of course picture the individual ant or frog, but it is the sheer multitudes and abundance of life that persists in my mind as a consuming, evolving abstract." - Matt Shoemaker - March, 2010 Nine years later after the release of Tropical Amnesia one, Ferns Recordings is proud to be able to discover the rest of this trip with a certain sadness. Ferns Recordings wanted to pay a tribute to Matt Shoemaker by not letting these magnificent recordings remain in oblivion. All sound recorded November 2007 in/at/around Mamori Lake, Amazonas, Brazil. Material culled and assembled December 2007/January 2008 in Seattle. https://mattshoemaker.bandcamp.com/album/tropical-amnesia-two-three "In 2017, Matt Shoemaker passed away and yet somehow there is still new music from him to be released, which is a good thing. Ferns already released the first instalment of Tropical Amnesia (not reviewed in these pages), and maybe they had the second and third part from Shoemaker, but not yet the resources to release it earlier. These two discs contain sounds recorded in the Amazon area in Brazil in November 2007 and in December of that year and January 2008 this has been used to create the two-hour works that span these discs. I couldn't tell if these works were made out of single events, or perhaps also with the help of loops; I assume there has been sort of layering of sound events in both these pieces. It works in two different ways here. 'Tropical Amnesia Two' is a rather straight forward work, once the ball gets rolling; from there on it stays in a fairly loud and oppressing volume but throughout it changes and moves through what I think is probably the whole range of animal life; insects, frogs, birds. In 'Tropical Amnesia Three' there is a less straight forward approach and while the piece moves through the same animal sounds, there is a different build-up, within one point birds leaping out of the choir of cicadas and ending with something that is close by the microphone making a popping sound, as if Shoemaker was close to the pond in a rowing boat. Towards the end of it all, there is a sign of human life and perhaps also the best example of this being construction of organized sound, rather than straightforward documentation of an event. This, I thought, was very delicate work, even in all it's considerable presence, volume-wise that is. It reminded me of the movie 'Monos' about the life of guerrilla’s in the Colombian rain forest and which I thought was one of the best movies I saw this year." [FdW/Vital Weekly]	2019	€15.00
SHRINE & MYTRIP	Descent	7inch	“Descent” is a two-track collaboration between key Bulgarian ambient acts Shrine and Mytrip. Sharing a passion for loud and textural ambient sound, they delved deeper in organic sounds and looping tonal layers, which are intertwined with sparse industrial soundscapes. This brief musical offering successfully showcases both artists’ signature takes on ambient. The heavy-weight sound production, courtesy of Shrine, makes “Descent” a memorable experience, certainly worth owning on a 7” vin https://amekcollective.bandcamp.com/album/descent	2022	€9.00
SIAMGDA	Tremors	CD	https://ant-zen.bandcamp.com/album/tremors 'the way i see, feel and hear life to be - colourful, mystical, rough, noisy, dark, meditative...' marc fischer founded siamgda in spring 2001 at the foothills of the himalayas near kathmandu, nepal. the story of how siamgda came into being started with a fairly ordinary trip to nepal in 2000. at that time, marc had already been engaged in his project störfrequenz, combining western classical music with industrial and noise, but had increasingly become dissatisfied with creating rhythms by electronic means only. in nepal, he came to hear about a music university in an ancient newar settlement of the kathmandu valley where he first heard the amazing sound of the indian tabla drums. he knew immediately and beyond doubt that he wanted to learn to play this instrument and eventually cross new musical boundaries. after several years of dedicated training in indian classical music with different teachers he created first tracks as siamgda, with the tabla as a rhythmic indicator. in 2010 he founded his own label mind plug records where the first two siamgda albums and a collaboration album with morty, a senior composer of mystical music, flute player and vocalist were released in digital format. siamgda's album 'tremors' is an amalgamation of eastern and western musical ingredients, presented in this outstanding artist's very own experimental and unique style. a hypnotic blend of tribal drumming, ethnic sounds, indian classical elements and electronic noises combined into an aural oneness without borders. ambient soundscapes and processed voices are carried by precisely set rhythmic loops keeping the listener's mind and body in a state of intense trance. 'tremors' represents a one-of-a-kind work of art where references to like-minded artists as muslimgauze and esplendor geométrico might be entirely appropriate. 'like the earth, we are cracking under pressure, our consciousness is giving birth to unpleasant and potentially harmful emotions like anxiety, fear, and self-destruction. however, such moments of being totally out of control also serve as a reminder that we are alive, vulnerable and in need of care and attention. 'tremors' has been inspired by the inner turmoils that shake all of us. when powerful forces come haunting and try to uproot us, it is up to us to keep calm, bearing in mind that the only sure things in life are impermanence and death.' (siamgda) more releases of siamgda: mailorder.ant-zen.com/products/band/id/1244 bandcamp.com/tag/siamgda ant-zen act312 www.ant-zen.com www.mailorder.ant-zen.com www.facebook.com/antzen.official Mitwirkende veröffentlicht am 5. September 2014 recorded between 2012 and summer 2014 in france, india and nepal mastered by eric van wonterghem at prodam, berlin photography by marc fischer layout by stefan alt	2014	€8.50
	Noise Yoga	CD	https://ant-zen.bandcamp.com/album/noise-yoga today we have so many opportunities to get up and dance, maybe more than ever. sadly however, many people join such events for their personal entertainment and satisfaction only. just imagine what could happen if we joined our forces, and dedicated our dance to the healing of the earth, the ripening of our compassion, and the wellbeing of all beings. that outburst of positive energy, would benefit all of us - humans and fellow earthlings.' (siamgda) rhythm in all its many variations is used by many artists to breed a state of trance and an out of body experience. for marc fischer a.k.a. siamgda it has always been an important musical element, applied with the purpose to both make you move, and to open your mind in an insistent, positive way. with the album 'noise yoga' he has opened a new chapter in this project's history, ridden by grooves of all kinds and turning from the familiar electronic / ethnic amalgamation towards minimalistic techno and classic ebm arrangements. you can easily draw a comparison while listening to the new 'yoga versions' of 'oppression' and 'son of god' and the original tracks released on previous siamgda albums. 'noise yoga' is a strong and varied mechanized display of force - an unstoppable juggernaut of hypnotic repetition and shuffling sensuousness. viscerally heavy and obsessively reran rhythmic vamps added with pumping bass hits, implanted melodic hooks and heavily distorted vocals are the ingredients for a dynamically compelling flow. a propulsive, dense combination of timeless sound components and contemporary recording techniques, made with the intention to make you move and think, and it does so.	2017	€8.50
SIGMARSSON, SIGTRYGGUR (BERG)	Into the Second Half	LP	Icelandic artist and musician Sigtryggur Berg Sigmarsson is known not only for his work with Stilluppsteypa but also numerous solo albums and collaborations with Swedish composer BJ Nilsen as well as several other artists. On Into the Second Half, his new solo album, recorded in 2022, Sigmarsson takes the listener into a calming yet mysterious world of sound. Starting from almost silence he creates a different state of listening that we could only find elsewhere when concerned with works of Robert Ashley. Carefully composed textures as subtle as the changes of light in the forbidden zone in Andrei Tarkovsky"s Stalker weave in and out of each other to make for a hypnotic ride. The cover and label photos were taken by Sigtryggur Berg Sigmarsson. Mastered for vinyl by Jim O"Rourke	2024	€29.50
SIJ & ITEM CALIGO	Queer Reminiscence	CD	"Since 2015's album "The Lost World" Vladislav Sikach ambient project SiJ released "Reflections Under the Sky" in February 2016. This time together with Textere Oris and under the banner of the Cryo Chamber label. With "Queer Reminiscence" SiJ returns to Reverse Alignment, teaming up with Item Caligo. As you can expect, "Queer Reminiscence" deliver drifting ambient to get carried away with. Limited edition of 200 copies in 6-panel digipack." [label info] ralignment.tictail.com "This new collaboration is an excellent example of dark ambient/neo-classical collaborations gone right. SiJ and Item Caligo are both known for their sounds that often float from ambient, to dark ambient, to neo-classical, and then back again. As is to be expected of these two artists, we have a nice combination of drone, piano, and various other lesser elements. SiJ and Item Caligo combine to craft a sound that is undeniably listenable. There is nothing harsh here, at many times its not even particularly dark. Tracks like “It Was Good To Destroy Once Again” showcase a lot of the diversity presented. There are moments when the track is peaceful, with gently sweeping drone-work. Yet, as it progresses it moves into areas of looping and a faint but steady percussion. Reminding of something which generally falls into more experimental and ambient musical outings. It can be something almost akin to the sounds of some artists on the Ultimae or Glacial Movements labels, with their minimalistic yet structured usage of percussion and drones. The cold feeling Queer Reminiscence evokes is another reason to make this connection to Glacial Movements. The pervading themes throughout Queer Reminiscence are melancholia and frigid temperatures. One can easily find themselves imagining a winter spent in some cold and isolated region, sitting beside the hearth in a tiny log cabin. This feeling of isolation will bring on a sense of longing for the past or some idealistic yet unwritten future. The sadness of Queer Reminiscence is woven into the music. There are no blatant cues to direct one’s emotions in any certain direction nor are their any noticeable field recordings. This hypnotic suggestion stems from the pure minimalism on Queer Reminiscence. There certainly are some active elements here, as already mentioned about the percussive sections peppered through the album. Yet, this variety of styles and instrumentation still hold a stripped down and minimal feel because of the sparing use and perfect placement of the various sounds. Unlike so many collaborative albums in the ambient realm, Queer Reminiscence makes it extremely hard to label any specific sounds to the musician responsible for the sample. There is never the moment where one thinks, “oh, this is certainly done by SiJ and not Item Caligo“. This is a testament to their individual skills and their years of experience writing music. But it is, even more so, a sign of their natural connection. They don’t seem to be fighting one another for the lead. They manage to give listeners the sense that Queer Reminiscence was created by one mind channeling its concepts into reality. Queer Reminiscence is an album that should be pleasing to many diverse musical appetites. There is something here for the ambient fans, something for the dark ambient fans, and something else that naturally makes it accessible beyond these boundaries. Having fully focused their attention on concept over stylistic execution, SiJ and Item Caligo bring forth something beautiful and serene. It should be able to evoke a sense of longing from each listener, in their own personal way. This all leads to my suggestion that Queer Reminiscence is one of the strongest releases on Reverse Alignment since its revival. An album which could be recommended to almost anyone." [Michael Barnett/This is Darkness]	2017	€13.00
SION ORGON	Dust	LP	Limited edition 12' Vinyl. Sion Orgon's 5th album featuring Thighpaulsandra, Richard Johnson, Claudio Gian and many other guests. or a number of years now, Sion Orgon has been crafting music that fuses abstract electronic mulch with the kind of bright melodies one would expect from a shiny pop group. Using avant-garde sensibilities and a vision partly shaped by his affiliation with both Thighpaulsandra and Coil, the Welsh producer/musician has never been afraid to push these into areas most artists of a similar disposition would never be bold enough to touch. At once catchy, psychedelic, filmic and disturbed, Sion Orgon's work has a very distinctive feel to it that only arrives from a craftsman firmly locked on to his own path. 'Dust' is the very latest collection of work, comprising six new tracks featuring Thighpaulsandra (Coil, Spiritualised, Julian Cope) on half of them and a number of other guests, including Claudio Gian, Lara Ward and Richard Johnson (Splintered, Theme). Somewhere amongst the many convoluted folds of often weird 'n' wonderful sounds are texts spoken by a number of random Finnish and Latvian people, further enhancing the multi-dimensional stealth attack of any one of the songs presented here. Like, again, his regular collaborator Thighpaulsandra's work, Sion's is enmeshed in rich layers and tangents so disparate they'd never make sense in anybody else's hands, and despite the countless such claims put forward by those essentially creating music permanently stuck in first gear this truly is aimed at those who demand far more from their listening experience. Limited to 300. https://sionorgon.bandcamp.com/album/dust "Welsh man Sion Orgon was always somewhere on the wider boarder of my radar due his regular involvement with Thighpaulsandra and also occasionality with Peter Christopherson of Coil. Supporting his artist career as Sound Designer, Studio Technician and Music Producer for Film, Theatre and Animation this is actually his 5th solo album. "Dust" was first published as limited Vinyl LP (300 copies only) via Lumberton Trading Co. last Autumn and is now also available as CD with identical tracklisting. Honestly I didn't expect him to be such an stylistic versatile musician - within these 6 tracks he moves seamlessly from noisy indie rock, abstract ambient to and back, with a grand finale of heartfelt and moving psychedelic rock. Starting with "Spat Out Of Dust", co-written and featuring Richard Johnson of Splintered he immediately catches your attention with a relentless beat and guitar pushing forward the cynic vocals until it fades organically into an open structure. After this track which reminds me positively of current Ministry "Ornament Centipode" is a dramatic soundtrack-ish piece, musique concrete with an experimental and psychedelic edge. Besides it's also one of the three tracks featuring Thighpaulsandra on modular synthesizers. Followed by "Head Bomb" the setted mood continues at first but steadily gains intensity until a psychotic rage can be imagined which is lived out to the fullest. Supported only by Claudio Gian on Bass and Chey Davis on Percussion & field recordings Sion Orgon leaves no nerves untouched here. 'Who Do You Think You Are?' (co-written by Thighpaulsandra) gets back into indie-rock post punk mood with dramatic interferences, a switch suddenly into melodic progressive metal excursions and backwards into field recordings filled post punk deserts. "Disintegration" is the straightest alternative rock song imaginable here, paired with a hip-hop beat and surprising merciless vocals. This one leaves me puzzled, an outburst of energy to be resolved only through the final epic "The Mouth That Has No Face" which is an astonishing homage to early psychedelic rock, light-hearted, playful and even with a catchy melodic refrain before it slowly fades into field recordings which leave you at peace with the world. While this release basically lasts only 6 tracks in barely 40 Minutes it really kicks ass, ashes and dust at once." [CHAIN D.L.K.]	2021	€20.00
SIR ASHLEIGH GROVE	The Nimply Power Sessions Parts I - VII Audio Memoirs Of A Gentleman Aesthete	CD	"Unearthed early 1980s recordings from John Mylotte (Metgumbnerbone). SAG's work has been compared to other Power Electronics artists of that era, in particular Whitehouse, Sutcliffe Jugend and Ramleh. Although sonically such comparisons are quite accurate, Sir Ashleigh differed from other such artists in that he had little interest serial killers or the Marquis de Sade, much preferring the works of Edgar Allan Poe, H.P. Lovecraft and Sir Arthur Conan Doyle." [label info]	2015	€15.00
SKY BURIAL	Spectrehorse	CD	Das Seitenprojekt von FIRE IN THE HEAD mit einnehmenden doom / ritual / noise-drone der visionären Sorte, eine Vermählung von Zeitlupenbeats, stechenden Soundschleifen, verstörenden Geräuschen & rauhen Gitarrenfeedbackwänden.. "....Sky Burial was different. Sky Burial was a sonic revelation and one I whole heartily embraced. Sky Burial is, in reality and so far, a dark ambient / drone / experimental sound sculpture side project. A world apart from FITH. "Spectrehorse" is the first official CD to be released and Michael composed the music, and I quote: "using field recordings from temples and caves in Laos with additional material from various studio sessions between 1996 to the present". Michael has that written large on his website so I for one will not question any of those facts. The nine tracks sees Michael on fire playing around and manipulating sounds into ever increasingly complex patterns within a variety of different ways. He inhibits a sort of netherworld of darkest spatial ambience... but isn't afraid to introduce a touch of melody, post rock or even, gulp, old fashioned noise into the mix to bring these sounds to a fitting climax. Whilst the drone purists may baulk at some of the extravagances he employs, the rest of us can but admire the fruits of his labour. The spectacle of claustrophobic entrapment is never far away as he toys and plays around with the senses. There is this undeniable feeling of cold isolation that is prevalent and cannot be shaken off. An ominous and stark realisation that forms a knot in the stomach as the music repeatedly builds in intensity. That isn't to say that "Spectrehorse" isn't without its lighter, more serene, moments. Even then though you feel this is an illusion and you patiently wait for the true evil, that must surely lurk beneath, to be revealed in all its ugly glory. I generally hate comparisons to this artist / group or that, although I have been guilty of doing this myself in the past, but to say someone sounds like someone else is a disservice to all the artists concerned. After all Michael, like all artists, didn't deliberately set out to mimic someone's style. He created what he's created. The fact it falls within certain musical spectrums is neither here nor there and so comparisons become invalid and inconsequential. Treat "Spectrehorse" for what it is. A glorious, and mostly sonically bleak, exhilarating musical adventure that is the other side of the coin to FITH by being far more accessible in every respect. I can but hope he continues down this path for many years to come...." [Aural Pressure] www.collectivexxiii.com/sky	2006	€12.00
SKYSCAPER	Atmospheric Stratification (Rescape)	CD	"Skyscaper is one of the many aliases belonging to none other than gterma's longtime mastering wizard Anders Peterson. Rescape is a reinterpretation of the original Atmospheric Stratification album (originally released on Anders' own Ghost Sounds label in 2012) with the help from several well known artists usually found in the dubtechno field. Imagine ascending into the heavens during a slowly building stormfront as immesurable walls of energy are about to be unleashed." https://gterma.bandcamp.com/album/atmospheric-stratification-rescape	2020	€12.00
SLIM VIC	Personliga Artiklar	LP	Personliga artiklar (Personal items) is pure electrical energy from the bottom of rage to clean sanded adventurous sound hypnosis. Slim Vics music mixes sound worlds with clear impact in sound art and darkest ambient, likewise small flirts with underground-based techno and IDM. The album is a selection of previously unreleased material mixed with music that only existed on single or remixed versions earlier, personal articles. One of Sweden’s most prominent artists in the spray painting, Rolfcarlwerner, has created all the artwork for the album. The cover to the original painting was painted directly inspired by the album’s sound world and was shown at the exhibition ‘Outside in 4.0′ at the gallery Erik Axl Sund in Stockholm winter in 2016. Artwork by Rolfcarlwerner Mastered by Joakim Westlund www.lamour.se	2017	€16.00
SLOWDIVE	Everything is Alive (Crystal Clear vinyl)	LP	Sechs Jahre nach dem monumentalen Comeback mit dem selbstbetitelten Album, finden slowdive - bestehend aus Rachel Goswell und Neil Halstead (beide Vocs und Git.), Christian Savill (Git.), Nick Chaplin (Bass) und Drummer Simon Scott - auf "everything is alive" immer mehr Konturen ihres eindringlichen, elementaren Sounds. Das fünfte Album der Shoegaze-Giganten enthält die Dualität einer vertrauten inneren Sprache, gemischt mit der Exaltiertheit von Neuanfängen. "everything is alive" ist transportierend, suchend und leuchtend, das Werk einer klassischen Band, die ihre unverwechselbare Stimme weiter in die Zukunft richtet. Das neue Album begann mit Halstead in der Rolle des Autors und Produzenten, der zu Hause an Demos arbeitete. Halstead experimentierte mit modularen Synthesizern und stellte sich "everything is alive" ursprünglich als ein "minimaleres elektronisches Album" vor. Die kollektive Entscheidungsfindung von slowdive führte die Band schließlich zurück zu ihren charakteristischen, mit Hall durchtränkten Gitarren, aber dieses erste Konzept sickerte in die Kompositionen ein. "Wenn wir als Band alle damit zufrieden sind, ist das tendenziell das stärkere Material. Wir sind immer aus leicht unterschiedlichen Richtungen gekommen, und die besten Stücke sind dort, wo wir uns alle in der Mitte treffen", sagt Halstead. "slowdive ist vor allem die Summe seiner Teile", fügt Goswell hinzu. "Wenn wir fünf in einem Raum zusammenkommen, passiert etwas Undefinierbares." Der mehrjährige Aufnahmeprozess begann im Herbst 2020 im Courtyard Studio, wo die Band schon immer aufgenommen hat, setzte sich dann in Oxfordshire und in der umliegenden Heide von Lincolnshire fort, um dann wieder zurück in Neils eigenes Studio in Cornwall zu gelangen. Anfang 2022 holte die Band Shawn Everett (The War On Drugs, Alvvays, SZA) ins Studio, um sechs der acht Tracks des Albums abzumischen. "everything is alive" ist genau das, was der Titel andeutet: eine Erkundung der schillernden Natur des Lebens und der universellen Berührungspunkte darin. Mit seinen psychedelischen Klanglandschaften, pulsierenden 80er-Jahre-Elektronik-Elementen und John Cale-inspirierten Reisen wirkt das Album sofort wie etwas, das für die Zukunft gemacht ist; das passt, denn die Fangemeinde der Band ist im Laufe der Zeit immer jünger geworden, und ihr Einfluss auf vorwärts denkende Musik-Künstlerinnen ist ungebrochen. Für ein Genre, das oft als spalterisch angesehen wird und oft Introspektion rechtfertigt, zeigen slowdive hier, dass sie ihr Handwerk beherrschen, indem sie es über das Singuläre hinaus vorantreiben; das Endergebnis ist eine Platte, die sich ebenso emotional und kathartisch wie optimistisch anfühlt. The fifth album from shoegaze giants Slowdive contains the duality of a familiar internal language mixed with the exaltation of new beginnings. everything is alive is transportive, searching and aglow, the work of a classic band continuing to pitch its unmistakable voice to the future. Six years after the group’s monumental self-titled album, everything is alive finds Slowdive—vocalists and guitarists Rachel Goswell and Neil Halstead, guitarist Christian Savill, bassist Nick Chaplin, and drummer Simon Scott—locating evermore contours of its immersive, elemental sound. The new record began with Halstead in the role of writer and producer, working on demos at home. Experimenting with modular synths, Halstead originally conceived of everything is alive as a “more minimal electronic record.” Slowdive’s collective decision-making ultimately drew the group back towards their signature reverb-drenched guitars, but that first concept seeped into the compositions. “As a band, when we’re all happy with it, that tends to be the stronger material,” Halstead says. “We’ve always come from slightly different directions, and the best bits are where we all meet in the middle.” The convergence of five unique characters has made the sound. “Slowdive is very much the sum of its parts,” Goswell adds. “Something unquantifiable happens when the five of us come together in a room.” The group’s projected studio sessions for everything is alive, in April 2020, were naturally scrapped, and when the group finally did meet up, six months later, at Courtyard Studio, where they’ve historically recorded, the mood was jubilant. (Finally, they had a proper reason to leave the house.) That was the beginning of a multi-year recording process, which moved from Oxfordshire and into the Wolds of Lincolnshire and back to Neil’s own Cornish studio before extending into February 2022, when the band brought in mixer Shawn Everett (The War On Drugs, SZA, Alvvays) to mix six of the record’s eight tracks. Owing to their deep history, there’s a palpable familial energy to Slowdive in 2023. everything is alive is dedicated to Goswell’s mother and Scott’s father, who both died in 2020. “There were some profound shifts for some of us personally,” Goswell says. Those crossroads are reflected in the many-layered emotional tenor of Slowdive’s music; everything is alive is heavy with experience, but each note is poised, wise, and necessarily pitched to hope. Its unique alchemy subtly embodies both sadness and gratitude, groundedness and uplift. Reflecting on “kisses,” which may be Slowdive’s surest pop moment yet, Halstead said, “It wouldn’t feel right to make a really dark record right now. The album is quite eclectic emotionally, but it does feel hopeful.” everything is alive, is exactly what the title suggests: an exploration into the shimmering nature of life and the universal touch points within it. Spanning psychedelic soundscapes, pulsating 80’s electronic elements and John Cale inspired journeys, the album lands immediately as something made for the future; which figures, as their fanbase has grown younger and younger as time has gone on, and their influence on forward thinking musical artists* continues to prevail. For a genre that is often thought of as divisive, and often warrants introspection, here Slowdive show their craft as the masters of it by pushing it outwards, beyond the singular; the end result being a record which feels as emotional and cathartic as it is optimistic. https://slowdive.bandcamp.com/album/everything-is-alive	2023	€26.50
SMITH, CHAS	An Hour Out of Desert Center	CD	Auf dem aktuellen Werk klingt SMITH wesentlich leichter und soft-ambienter als zuvor, eine Nähe zu VIDNA OBMANA ist unverkennbar, aber mit stärker metallischem Einschlag. Sphärenklang, der IST. "An Hour Out of Desert Center is scored for pedal steel guitars, composer-designed-and-built crotales and sound sculptures, zithers, and a 1948 Bigsby lap guitar (a one-of-a-kind instrument that was owned by famed steel player Joaquin Murphey, who played with Spade Cooley, Tex Williams, Sons of the Pioneer, and other classic country artists). Here, Smith’s musical texture, evolving slowly and continuously over the course of the piece, is without dramatic flourishes. Like the spare landscapes around Desert Center, California, it simply exists in its muted beauty. Absence of Redemption and Albuquerque 5402 are scored for the same instruments as the first work, but with the addition of Smith’s self-designed-and-built three-neck steel guitar, "guitarzilla," which he prepares (a la John Cage’s prepared piano) with metal rods and plays with hammered dulcimer hammers. Absence develops in the linear fashion of the first piece. Albuquerque 5402 is a large-scale, two-movement piece constructed from dense, shifting textures that slowly taper away in the first movement and interweave in the next. " [label description]	2003	€14.00
SMITH, STEVEN R.	Owl	CD	"This is the first brand new solo album from Steven R. Smith since last year's epic "The Anchorite." Few artists can boast the impressive discography Smith does, full of far more hits than misses. And with "Owl," he shows that he's still got new tricks up his sleeve. On here, you'll find some of the things you expect with a new Steven R. Smith record: sprase, angular walls of his trademark guitar playing with embellishments from an array of acoustic instrumention. But there's a new twist here: vocals. Yep, vocals. Smith unleashes his voice on "Owl" and does so in such an impressive fashion that it leaves me asking what took so long?" [label info] www.digitalisindustries.com	2007	€12.00
SOLA TRANSLATIO	Mother Sunrise	CD	Starke Zusammenarbeit zwischen ALIO DIE und OPIUM, spirituell-entrückte Elektronik & field recordings mit leicht orientalischem Flair.. “Combining an entrancing mix of natural recordings (water, wind, soil, forest) and electronic textures, Mother Sunrise conveys a descent into the natural world at its grittiest, most organic, and most truly "alive." Usually ambient & atmospheric music is primarily electronic, or perhaps utilizes guitars or other acoustic instruments, with electronic treatments. While this recording does integrate such conventional instrumentation in part, it derives its truly unique flavor through the liberal use of natural "location" atmospheres (recorded in the Far East as well as Italy), as well as organic percussive elements. Opium is a newcomer, mostly unknown in the ambient & atmospheric music scene, but Alio Die (especially through his excellent collaborations with ambient stars Robert Rich and Vidna Obmana, but also through his proprietorship of the Hic Sunt Leones label on which most of his solo material has been released) is one of the increasingly respected & beloved artists of our genre. Taking a truly unique and personal approach to this work, Alio Die arrives at a sound which is distinct -- truly rich, complex, and substantial enough to bear repeat listening." [label description] www.hypnos.com	2001	€13.00
SOLLMANN, PHILLIP / KONRAD SPRENGER	Modular Organ System	LP	Begun in 2017 and developed and refined over the six years since, the Berlin based artists, Phillip Sollmann and Konrad Sprenger, deliver their first LP, via Choose Records, documenting their remarkable Modular Organ System. Comprising a single, long form composition divided into two parts, “Modular Organ System” is a sublime and masterful work of drone, imbued with immediacy and emotion, that culminates as one of our favourite experimental organ records to appear in recent years. Founded during the early 2000s by Jörg Hiller, the Berlin based imprint, Choose Records, has slowly released a near perfect catalog, ranging from Hiller’s efforts under Konrad Sprenger, to incredible albums by Robert Ashley & Walter Marchetti, Terry Fox, Arnold Dreyblatt, Robin Hayward, and a number of others. It’s been roughly a decade since we’ve heard from the label, but they’re back on roaring from with “Modular Organ System”, the first ever release of the long-standing mobile organ project of Phillip Sollmann and Konrad Sprenger. Comprising an absolutely stunning long-form work of shimmering minimalist drone, complete with fantastic, newly commissioned liner notes by Arnold Dreyblatt, it’s a true marvel and easily one of our favorite records for pipe organ to have appeared in recent years. Both Berlin based, Phillip Sollmann and Konrad Sprenger, the alias of Berlin based musician Jörg Hiller, have been quietly developing singular solo practices that push the boundaries of electroacoustic sound for the last 20 years. Sollmann has followed a slightly less predictable path, with a significant amount of his output having been issued under the Efdemin moniker, a project focused on the production of Minimal, deep house and techno, and only coping up intermittently with a handful of minimalist marvels over that period, notably 2020’s “Monophonie”, and “Panama / Suez”, his 2018 collaboration with Oren Ambarchi and Konrad Sprenger, which bridged the distance between the two extremes of his output. Sprenger, on the other hand, first caught our eye back in 2004 with his brilliant duo LP “Ort”, made with Ellen Fullman. In the years since, he has slowly issued a series of beautiful solo efforts, as well as collaborations within the ensembles of Arnold Dreyblatt and others. His practice has displayed a remarkable versatility, shifting between conventional and custom instrumentation and electronics, endlessly pursuing experiments tracing into new territories, most strikingly in his last solo LP, “Stack Music”, issued by Pan back in 2017. Despite its occasional use by composers like Charlemagne Palestine and Terry Riley during the second half of the 20th Century, by the new millennium the organ was an almost entirely neglected instrument within experimental music. It’s only been in the last ten or so year that has, somewhat inexplicably, become one of the context’s most celebrated areas of exploration, helped by the pursuits of artists like Kali Malone, Sarah Davachi, Raven Chacon, Kara-Lis Coverdale, and numerous others, who have utilized the instrument’s unique tuning versatility and specificity to construct remarkable compositions. Running parallel to this, a number of artists like Sholto Dobie, FUJI\|\|\|\|\|\|\|\|\|\|\|TA, and Maxime Denuc have begun to push and reinventing the organ’s physical make up and technological interfaces. Phillip Sollmann and Konrad Sprenger’s collaborations fall into the later of these. Beginning in 2017, the duo began developing the Modular Organ System: the first monumental pipe organ that can be re-engineered according to the acoustics of any space. Constructed from pipes and parts taken from former church organs as well as newly fabricated pieces in a way that all of the instrument’s elements - pipes, console, action, and wind box - are visible, allowing visitors to witness the instrument’s physicality, and attempting to free the pipe organ from a singular, static installation, in the hope to place and recontextualize the instrument and its sound within startling new environments. As Arnold Dreyblatt’s excellent accompanying liner notes point out: “They have collaborated with musicians, visual artists, traditional organ builders, computer programmers and designers in re-thinking technological and historical boundaries of traditional organ systems: the computer control of parameters such as air flow and non-tempered fine-tuning; the role and visual impact of the pipes and bell- horn; the use of synthetic materials as well as relative size and movement within the space, the modular design for set-up, transport and re-combination of elements”. Sollmann and Sprenger pursued these ends continuously over the last six years within numerous festivals, venues, and institutions, but, until now, have yet to release any of the music they’ve composed. At long last, Choose Records’ release of “Modular Organ System” ends the wait. Comprising a single, long form composition divided into two parts, “Modular Organ System” is a sublime and masterful work of drone. Moving at a glacial pace, shimmering harmonics weave and dance into a blanket of tonality at the lower end of the spectrum, creating immersive patterns and slowly evolving structures that manage to provide endless cycles of anticipation across the piece’s length. Perhaps most strikingly, within the album’s remarkable beauty, Sollmann and Sprenger manage to interlace a brilliant balance of grit and textural complexity, indicating that this isn’t an everyday pursuit of gratifying drone and minimalism. There’s undeniably something far brooding lingering within. Truly stunning on every count and unquestionably one of our favorite organ records to appear in recent years, with “Modular Organ System” Phillip Sollmann and Konrad Sprenger push and prove that we have yet to hear the full scope of potential from the pipe organ. SOUNDOHM	2023	€45.00
SOLO ANDATA	same	CD	"12k presents Australian duo Solo Andata along with their second album, self-titled. Translated literally from the Italian as 'one way,' Solo Andata portrays the theme of a one-way journey that moves from (and represents a thread between) water and land, fluid/stasis, cold/hot. Following Solo Andata's debut album Fyris Swan (Hefty, 2006) and their 12k inception on Live in Melbourne, Solo Andata presents us with an ambient affair, with dark drones coupled with ethereal sonic environments. It could be said that Solo Andata is carefully sequenced to a narrative structure: beginning on boat in the cold, arctic night of 'Ablation,' and then ending on foot in the hot wilderness of 'Woods, Flesh, Bone.' However, concepts and narratives that seem clear to the artists are often left oblique to the listeners. This is perhaps why Solo Andata represented this narrative in a strict sense by recording what the titles literally refer to. For example, 'Woods Flesh, Bone' presents us with sweltering woodlands, the sound of a fresh carcass being torn apart and the clattering of bones. The same can be said of 'Hydraulic Fluctuations,' 'Canal Rocks,' 'Ablation' and 'In the Light Storming.' These organic sources, then, help tie music and concept together. Solo Andata utilizes very little, if any, electronic instruments. Acoustic guitar, piano, cello and the natural resonances of organic materials (usually by way of a violin bow, pluck, or home-made contraption) become their main instruments, and as their live shows often attest to, Solo Andata can turn almost any object into an instrument capable of producing beautiful, other-worldly music." Includes a 12-page booklet with photographs by Taylor Deupree." [label info]	2009	€14.50
SONIC YOUTH	The Eternal	CD	"Sonic Youth’s 16th album, ‘The Eternal’, will be released on double vinyl, compact disc, and digital album by Matador Records on June 9. Produced by John Agnello and the band, ‘The Eternal’ not only marks Sonic Youth’s return to the independent label sphere (titles on their own SYR label excepted) after a long association with Geffen, but more importantly, ranks as one of their more inspired efforts in a 28 year career. Recorded through November and December of last year at the band’s Echo Canyon West studio in Hoboken, NJ, ‘The Eternal’ features many firsts for a Sonic Youth album, including a number of shared vocals between Kim, Thurston, and Lee, and the studio debut of former Pavement/Dustdevils bassist Mark Ibold, a member of Sonic Youth’s touring band for the past few years. The band’s current extracurricular activities are as always, quite varied. The Kunsthalle in Dusseldorf, Germany is now hosting the touring museum exhibition SONIC YOUTH ETC.: SENSATIONAL FIX, which focuses on the band’s multidisciplinary work since the band’s formation in 1981, including their collaborations with visual artists, filmmakers, designers and musicians. Kim Gordon launches a clothing line, Mirror/Dash, at Urban Outfitters on February 16, and is showing at The Armory Show in NYC March 5-8. Lee Ranaldo, with co-conspirator Leah Singer, just opened installations at the Konsthall in Stockholm and the CNEAI in Paris, and he has a piece in the travelling exhibition “Bad Moon Rising 3″, currently at Boots Contemporary Art Space in St. Louis. A Beck/Sonic Youth split 7″ is being released by Matador on April 18 for Record Store Day. And the band recently collaborated with the Merce Cunningham Dance Company (along with former Led Zeppelin bassist John Paul Jones and mixed-media sound composer Takehisa Kosugi) on a work celebrating, and being performed for, Cunningham’s 90th birthday on April 16 at the Brooklyn Academy of Music. Upcoming SY shows include April gigs in Austria and Germany (including the closing of SENSATIONAL FIX in Dusseldorf) and May 16 at the No Fun Festival in Brooklyn. They will be touring throughout the summer in support of ‘The Eternal’. Of ‘The Eternal’, Matador’s Gerard Cosloy says, “We’ve not had a record in our recent history that’s been the subject of nearly as much speculation and anticipation. Suffice to say we’re pretty amazed at the way the band delivered something this neoteric while still sounding like, well, themselves. Less of a reinvention and perhaps more to do with a particularly awesome dozen songs.” Matador will shortly announce a Buy Early Get Now scheme for the album with some very interesting bonus material. Sonic Youth are: Steve Shelley Lee Ranaldo Kim Gordon Thurston Moore Mark Ibold Track listing: 1. Sacred Trickster 2. Anti-Orgasm 3. Leaky Lifeboat (for Gregory Corso) 4. Antenna 5. What We Know 6. Calming The Snake 7. Poison Arrow 8. Malibu Gas Station 9. Thunderclap For Bobby Pyn 10. No Way 11. Walkin Blue 12. Massage The History [label / website notes] www.matadorrecords.com Sie galten als die Blaupause einer Indie-Band, dabei veröffentlichten sie die meisten ihrer Alben bisher bei einem Major: Sonic Youth. Mit "The Eternal" genießt das Quartett um Kim Gordon und Thurston Moore seine neue Freiheit und veröffentlicht beim Label Matador. Die zwölf von John Agnello produzierten Songs klingen wie die Eckpfeiler der gesamten Sonic-Youth-Karriere: von den frühen No-Wave-Attacken über die radikalen Songstrukturen der 90er-Jahre bis zu den fokussierten zeitgemäßen Exkursionen. 1980 in der Kunst- und Postpunk-Szene New Yorks entstanden, wurden Sonic Youth schnell zum Aushängeschild der amerikanischen Undergroundszene. Schon immer suchten sie Anknüpfungspunkte an die Kunstszene, nicht zuletzt durch ihre Covergestaltung, die auf Werke von u. a. Gerhard Richter, Mike Kelley, Jeff Wall und Raymond Pettibon zurückgriff. Das Cover ihres 16. Albums "The Eternal" stammt vom Künstler und Gitarristen John Fahey (1939-2001). In der Kunsthalle Düsseldorf kuratierten Sonic Youth 2009 die Ausstellung "Sensetional Fix", die eine alternative Geschichte der zeitgenössischen Kultur erzählt.	2009	€13.00
SONORHC	Portes d'Orient - Amazonia	CD	http://www.fractal-records.com/01fractal/fractal.htm Good news from the Sonorhc’s « space shuttle » ! After the two first albums « Purf » (1972) and « Outrelande » (1982) released last year, Fractal records deliver now the second volume of the expedition with the third and the fourth album of the band : « Portes d’Orient (East Gates) » (1984) and « Amazonia » (1985) again on CD, perfectly remastered and in the same concept « two albums in one ». As a band who claim to be « without leader », Sonorhc is a collective with variable line-up as shows this reissue : four musicians (Youval Micenmacher, Laurent Cokelaere, Pierre Buffenoir, Jean-François Gaël) on « Portes d’Orient » and only two for « Amazonia » despite this one could be saw as almost entirely composed by Jean-François Gaël alone, inevitably one of the major force in their ranks. Jean-François Gaël is born in Paris in 1938. He worked as guitarist, composer or arranger with : Hélène Martin, Francesca Solleville, Marc Ogeret, Marcel Mouloudji, Jean Ferrat, Colette Magny, Catherine Sauvage, Henri Gougaud, Antoine Tomé, Mama Béa and with poets : Jacques Prévert, Louis Aragon, Eugène Guillevic, René Char, Pierre Seghers... Theses collaborations will find success five times for the «Grand Prix du Disque de l’Académie Charles Cros» award. He worked at the GRM in 1965, at the GMEB in Bourges in 1985 and at the IRCAM in 1995. He now composed film soundtrack for cinema and TV in his own studio. So, here is finally reissued and for the first time after thirty years (yeah !) two sounds library records. Title name for each will transport you immediately in the right place: don’t need to move, the space shuttle travel for you ! With 32 tracks in total and with the adequate instrumentation for both albums : « Portes d’Orient » is a stunning meditative ethnic musical trip for guitars, bass, drum, percussions, moog, duduk, flute, guembri, arghoul, woodblock, hurdy gurdy… Overall it reminds the famous Agitation Free first album « Malesch » without the « rock » side but adding the « spiritual » side of Peter Michael Hamel works. « Portes d’Orient » is a very scarce album nowadays and almost impossible to find now in original vinyl LP. « Amazonia » use more synths but also many others ethnics instruments making this one a relaxing and melodic album in a reverie jungle mood. Jean-François Gaël done three trips in the Wayanas tribe in Amazonia and he also worked at that time for the french serie TV « Carnets de l’Aventure » and then brings together all his « amazonia » themes for this album. The patterns are diverses and united, going from Bernard Parmegiani’s electroacoustic side (« Passoula ») to Francis Bebey’s « psychedelic » sanza (« Sanza Sun »), Jorge Reyes’s ambiant ritual (« A Ouanary ») or Steve Roach’s tribal works (« Pakira »)… Two hidden lost gems made in France finally dig up ! Sonorhc go back in time (the space shuttle show you the correct sense of the reading : from the right to the left) and explore the consciousness ! NB : - (1) : « Portes d’Orient » from 1984, is the real third album of the GROUP Sonorhc, and it should be NOT credited only to the duo : « Jean François Gaël - Pierre Buffenoir » (it’s an error) : there were no artists name printed indeed on the original cover album, but the Sonorhc logo appears well on the camel saddle in the drawing made by Jean Pierre Lamerand at that time. « Amazonia » is a complete unreleased album recorded in 1985, never published before, and again with a front cover made again and at that time (!) by Jean-Pierre Lamerand. - (2) : The album « K’an » (1993) became in that way the fifth album of Sonorhc.	2015	€18.50
SONS OF GOD & MATS GUSTAFSSON	Reception	CD	"The Sons of God: 32 amplified iron plates. Mats Gustafsson: live electronics. Recorded by Olof Madsen on the 5th of March 2006 at Frgfabriken, Stockholm, Sweden. Reception was a sound installation at Frgfabriken (February 18 - March 5, 2006). by the Sons of God and Emanuel Swedenborg and a part of the festival Place and Space, Stockholm New Music. The festival was curated by Magnus Haglund and Magnus Andersson. During the installation period, the following guest-artists were invited for performances and concerts : Mats Gustafsson, Per Jonsson, Anna Koch, Nora Kvassman, Lotta Melin, Lise-Lotte Norelius, Daniel Rozenhall, Amit Sen, Wenche Sundsrud and Pr Thörn." [label info] www.fireworkedition.com "Work by The Sons Of God is somewhere in between composition, performance and installation. Lots of their released output relates to performances and installations and 'Reception' is no different. This particular work involves no less than thirty-two amplified iron plates set up at Fargfabriken, Stockholm in 2006 and on the night of March 5th 2006 a concert was held with Mats Gustafsson providing live electronics. An almost fifty-four minute work of loud noise. One vague rumble of… what exactly? Thirty-two iron plates you might say, which sound like crashing, cascading storm and on top we have Gustafsson's electronics wailing more about. Think Merzbow, but then without any development or change, save for a slow building up, to an orgasmic height and then quickly taking matters to a logical conclusion. Almost like a very noisy storm, almost like ambient music taken to a very (il)logical conclusion. To confuse matters even more there is a whole text about a 18th century writer Emanuel Swedenborg about heaven and hell, and how that influenced the work of The Sons Of God. You can read that and contemplate about it when listening to the music, although I am sure it will not shed a brighter light on one or the other. I thought of the whole package as quite fascinating, but then I always admire such consistent conceptual ideas." [FdW/Vital Weekly]	2011	€13.00
SOUND_00 + LEFTERNA	Elementals: Collabs 2	CD	After a series of collaborative publications on multiple experimental labels, the duo of Toni Dimitrov (Sound_00) & Boban Ristevski (Lefterna) finds its 'Elementals: Collabs 2' conceptual release on Winter-Light. 'Elementals: Collabs 2' is an ambient/experimental release of deep drone contemplations and ambient exploration, good for deep meditative and learning sessions. 'Elementals' gathers together selected collaborative works from the artists Sound_00 + Lefterna. All tracks have previously been released separately on compilations from the labels Fall Into Void, Post Global Recordings, HNM Recordings, AOsmosis and Crna Zemlja. For this release on our Winter-Light label, the tracks have been completely remastered by Cruel Sound Works, adding a richer, more distinctive warm feel to each piece. Glass mastered CD comes in a 4-panel full colour digi pack. 7 tracks with a total running time of 77:23 mins. winter-light.bandcamp.com/album/elementals- collabs-2 "Quite some years ago, Sound_00, the musical project of Toni Dimitrov was an active force in the world of net labels and CDRs (this was before cassettes became hip again), but he disappeared for a while, for reasons I don’t know but I see his name popping up again and here he has seven pieces recorded in collaboration with Boban Ristevski, also known as Lefterna, and who, also many moons ago, wrote reviews for this rag. Apparently they have been working together for some time now, and released their work on compilations on such imprints as all Into Void, Post Global Recordings, HNM Recordings, AOsmosis and Crna Zemlja. Not that I heard any of these. This collection sees these pieces re-mastered by Cruel Sound Works, “adding a richer, more distinctive warm feel to each piece”. These are quite lengthy pieces of music, somewhere between seven and fifteen minutes, dealing with field recordings, processed and otherwise, and to which a bunch of electronics are added. There is a strong love for field recordings that contain a lot of water, rain, running taps or river streams; that sort of thing. By way of processing and adding effects and electronics it comes out as a deep wash of atmospheric drone music. I can’t say if these are now warmer than before, but they sound pretty much all right to these ears. There is the dash of reverb, set to a cavernous setting to suggest that spooky touch, which is something that you can find on all these releases, by this label, and in general with this kind of music. This is music that one should undergo and feel, rather than rationalize about. Like many of the other isolationist musicians it seems less about composing and more about letting sounds wander freely inside a bunch of sound effects but it becomes a very nice work indeed." [FdW/Vital Weekly]	2017	€13.00
SPARHAWK, ALAN	Solo Guitar	CD	Solo-Album des LOW-Frontmanns! Und er hat definitiv den "Drone-Blues", einiges erinnert an RAFAEL TORAL, es gibt reine schillernde drone-fields, die aber immer wieder unterbrochen werden von einsam-bluesigen Notes oder Solos, aber auch von heftigeren Ausbrüchen..... "Alan Sparhawk is best known for his work in his minimalist-pop band Low & his angst-ridden-blues band The Black-Eyed Snakes. His solo guitar-work follows sounds hinted at on songs like "Do You Know How To Waltz" or the Songs for a Dead Pilot version of "Will the Night". Reverb driven ambient guitar experiments like other Silber artists Remora, Aarktica, & Mike VanPortfleet." [label info]	2006	€12.00
SPECIAL INTERESTS (MAG)	No. 9	mag	SPECIAL INTERESTS #9 (June 2013) B5/84 pages Cover Artists Coelho / Sektor 304 Essential albums MK9 Prurient Recommended books: -MK9 -J.Jerman Interviews: – Jaakko Vanhala – Sektor 304 – Das Synthetische Mischgewebe – Pogrom – Mikkel Rorbo (Alleypisser etc) – Foetus Live noise feature with Haters, Con-Dom, Keränen + artwork by Tisbor harsh noise 2013 feature With The Rita, Being, Tourette, Developer, Alogirl. Massive 84 pages B5 size issue!!! Interviews: Jaakko Vanhala. Sektor 304. Das Synthetische Mischgewebe. Pogrom. Mikkel Rorbo (Alleypisser. etc..). Foetus. Cover Artists: Coelho / Sektor 304 Essential albums feature with: MK9 and Prurient. Recommended books by MK9 and J.Jerman. Live noise feature with Haters. Con-Dom. Keränen. Harsh noise 2013 feature with The Rita. Being. Tourette. Developer. Alogirl. Reviews.	2013	€10.00
SRVTR I INTERNAL FUSION I DARDIS I A.MAIAH	Thing	CD-R	n 2022, attenuation circuit starts a new series of four-way split albums called THING. The aim is to provide a medium for exchange and presentation of a great variety of artists. As each artist spreads the copies to their network, listeners also get to know the other artists featured on the same disc. The title references the fact that the CDs are physical objects – things! – but also refers to the 'thing' or 'ding' in old Norse and other Germanic languages, which designates the place of a popular assembly or the assembly itself and thus alludes to the 'meeting-place' character of the albums on (or around) which the four artists and their audiences meet, if only virtually. https://emerge.bandcamp.com/album/thing-4 With the fourth issue of the THING series, attenuation circuit unites newcomers to the label roster – sound artist and poet Dardis from Northern Ireland and post-psychedelic guitar experimenter A.Maiah from Spain – with the French-based acts SRVTR and Internal Fusion, who were previously featured on the label. The four tracks of the album could be considered a study in how loops/rhythms can evolve into drones and the other way around. Whenever a 'beat' appears, however, it's not a programmed drum-machine sound, but always loops created from found sounds. This makes a compelling case for repetitive rhythms as a method for experimental music, or experimental hearing: if you hear a sound repeated often enough, sometimes it takes on an aspect that would remain unnoticed at first hearing. File under: electroacoustic, ambient	2022	€8.00
STARGAZER'S ASSISTANT	Mirrors & Tides, Shivers & Voids	CD	"Eyes closed, ears wide open, we are given freedom to dream the void. Sweeping, intricate, sometimes ominous yet always exuding a warmth and depth of emotion, The Stargazer’s Assistant produces pure cinema of sound. For this record David J. Smith (Guapo) is joined by Circle vocalist Mika Rättö’, who sings on the heartbreaking “Coral Butterfly”. David also had the honour of playing the late Finnish jazz drummer Edward Vesala’s Sound & Fury collection of unique metal percussion. Ancient forests, vast plains, billowing clouds, rusted metal hulks, wet rock walls, light flickering in dark: these are the subtle visions of The Stargazer’s Assistant. Originally released on Utech Records in 2013 as a double 10” vinyl this recording is now available for the first time on CD. David J. Smith, perhaps best known as the band leader & drummer of avant garde rock group Guapo, formed The Stargazer’s Assistant in 2007. Originally a solo recording project set up to provide soundtracks for his work as a visual artist, it has since grown to encompass live concerts and collaborations with film makers and performance artists. The group is at present a trio comprising: David J. Knight (Danielle Dax, Lydia Lunch) with whom Smith also performs in the group UnicaZürn (together with Stephen Thrower - Coil, Cyclobe) and Michael J. York (Coil, Cyclobe, Teleplasmiste). Smith & York have collaborated since working together from 2012 in the live incarnation of Stephen Thrower and Ossian Brown’s group Cyclobe. 2018 saw the latest release Resurgam I, Resurgam II on House Of Mythology (the follow up to their 2016 debut for the label - the double LP Remoteness Of Light). Smith is currently working on a film for the Resurgam pieces with artist Maurice Burns. https://zoharum.bandcamp.com/album/mirrors-tides-shivers-voids	2019	€13.00
STELZER, HOWARD & JASON TALBOT	Songs	CD	„Intransitive Recordings is proud to present the long-awaited debut CD by Howard Stelzer and Jason Talbot. "Songs" contains eight concise pieces of electro-acoustic music created from cassette tapes and a single turntable. Since the duo's inception on 1999, they have worked toward developing a unified, improvisatory sonic language by approaching their machines in a decidedly instrumental manner. For their first album, Stelzer & Talbot take inspiration from artists such as Schimpfluch-Gruppe, P16.D4, SBOTHI, as well as musique concrete and contemporary free improvisation, arriving at a voice entirely their own. The duo's music demonstrates a raw passion and energy, anchored by tense silences. Stelzer and Talbot have toured extensively, collaborating with artists as diverse as Kevin Drumm, Martin Tetreault, Haco, Gert-Jan Prins, Keith Fullerton Whitman/Hrvatski, Roel Meelkop, Le Quan Ninh, nmperign, Christian Renou/Brume, Brendan Murray, Brent Gutzeit, Jack Wright, Ron Lessard, and Jason Lescalleet. In addition, Stelzer has performed with Axel Doerner, Jos Smolders, Jerome Noetinger, Lionel Marchetti, James Coleman, and Andrea Neumann, and is a member of Bhob Rainey's large ensemble the BSC, whose first CD is forthcoming on Grob this summer. Stelzer runs the Intransitive Recordings label, and Talbot the Kissy Records label. They live in Boston, Massachusetts.” [press-release]	2003	€7.50
STETSON, COLIN	New History Warfare Vol. 2: Judges	LP & CD	"Colin Stetson is a horn player of uncommon strength, skill and genre-defying creativity. He composes and performs otherworldly songs that combine a mastery of circular breathing technique with percussive valve-work and reed vocalisations, making a polyphonic solo music that combines influences as diverse as Bach, early metal, American pre-war Gospel, and the explorations of Jimi Hendrix, Peter Brotzman and Albert Ayler. Colin has been making his mark as a staggering solo performer for several years now, in front of audiences small and large, from intimate jazz and experimental music venues to big stages, whether opening for Arcade Fire or The National, or playing at jazz and new music festivals like Moers and London Jazz. His talents have been widely recognised and employed by artists as diverse as Tom Waits, Laurie Anderson, TV On The Radio and Bon Iver; he also plays in Bell Orchestre and Sway Machinery. Stetson's live solo performances are absolutely stunning and uncategorisable and he conveys a commensurate intensity and iconoclasm on this new studio album of original material. New History Warfare Vol. 2: Judges is Stetson's second solo record and his first for Constellation. Stetson is able to weave an uninterrupted flow of arpeggiated swirls and chordal progressions while simultaneously singing yearning melodic lines through the reed of his horn – a technically powerful combination, exponentially intensified by Colin's innate sense of pace, phrasing and trajectory. Stetson approaches his solo work with one foot firmly rooted in a pop sensibility, harmonically and in terms of overall song structure – a sensibility on fine display in longer pieces like "Judges", "The Stars In His Head (Dark Lights Remix)" , "Clothed In The Skin Of The Dead" and "Fear Of The Unknown And The Blazing Sun". He can paint short, ecstatic spirals of rapid-fire ostinati that move through the entire range of the instrument, full of subtle rhythmic shifts and filigree, as with "The Righteous Wrath Of An Honourable Man", "From No Part Of Me Could I Summon A Voice" and "A Dream Of Water", all of which clock in at the 2-3 minute range (and the last of which features a spoken word vocal by Laurie Anderson). Colin can also shred, especially when rallying the full force of the bass saxophone, whether in the foghorn blasts that open the album or the gasping syncopated pulse of "Red Horse (Judges II)". The seamless, steamy, multi-timbral drone that underpins Shara Worden's guest vocal on "Lord I Just Can't Keep From Crying Sometimes" demonstrates another side of Colin's mastery and sensibility. The music on New History Warfare Vol. 2: Judges was captured entirely live in single takes at Montréal's Hotel2Tango studio, with no overdubs or looping, using over 20 mics positioned close and far throughout the live room. Guest vocals by Laurie Anderson and Shara Worden (My Brightest Diamond) are the only exceptions to this rule, along with one brief french horn that was multi-tracked. The Judges sessions were co-produced by Stetson and Shahzad Ismaily and engineered by Efrim Menuck at the Hotel2Tango, then taken to Greenhouse Studios in Reykjavik and mixed by Ben Frost, the critically acclaimed experimental electronic/ambient composer and producer whose shared influences of minimalism, noise and black metal made him the perfect choice for a bold and unconventional approach to the raw material. Frost pushes and pans different mic signals to the fore from song to song (and within songs), eliciting a cornucopia of details and extremes in Colin's playing and highlighting the complexity of sounds generated by a single horn in Stetson's hands. Rhythms are formed by clicking keys, minute textures are brought forward by running ambient mics extremely hot, and low end is at times pushed fully into the red to devastating effect. Mastering by Mell Dettmer provides the final touch. The result is a highly original, experimental, euphoric record that fires on all levels: a document of an astoundingly strong and gifted player; a compositional tour-de-force; and a studio production bursting with intensity and inventiveness." [label info] www.cstrecords.com https://colinstetson.bandcamp.com/album/new-history-warfare-vol-2-judges-3	2011	€24.00
	New History Warfare Vol. 2: Judges	CD	"Colin Stetson is a horn player of uncommon strength, skill and genre-defying creativity. He composes and performs otherworldly songs that combine a mastery of circular breathing technique with percussive valve-work and reed vocalisations, making a polyphonic solo music that combines influences as diverse as Bach, early metal, American pre-war Gospel, and the explorations of Jimi Hendrix, Peter Brotzman and Albert Ayler. Colin has been making his mark as a staggering solo performer for several years now, in front of audiences small and large, from intimate jazz and experimental music venues to big stages, whether opening for Arcade Fire or The National, or playing at jazz and new music festivals like Moers and London Jazz. His talents have been widely recognised and employed by artists as diverse as Tom Waits, Laurie Anderson, TV On The Radio and Bon Iver; he also plays in Bell Orchestre and Sway Machinery. Stetson's live solo performances are absolutely stunning and uncategorisable and he conveys a commensurate intensity and iconoclasm on this new studio album of original material. New History Warfare Vol. 2: Judges is Stetson's second solo record and his first for Constellation. Stetson is able to weave an uninterrupted flow of arpeggiated swirls and chordal progressions while simultaneously singing yearning melodic lines through the reed of his horn – a technically powerful combination, exponentially intensified by Colin's innate sense of pace, phrasing and trajectory. Stetson approaches his solo work with one foot firmly rooted in a pop sensibility, harmonically and in terms of overall song structure – a sensibility on fine display in longer pieces like "Judges", "The Stars In His Head (Dark Lights Remix)" , "Clothed In The Skin Of The Dead" and "Fear Of The Unknown And The Blazing Sun". He can paint short, ecstatic spirals of rapid-fire ostinati that move through the entire range of the instrument, full of subtle rhythmic shifts and filigree, as with "The Righteous Wrath Of An Honourable Man", "From No Part Of Me Could I Summon A Voice" and "A Dream Of Water", all of which clock in at the 2-3 minute range (and the last of which features a spoken word vocal by Laurie Anderson). Colin can also shred, especially when rallying the full force of the bass saxophone, whether in the foghorn blasts that open the album or the gasping syncopated pulse of "Red Horse (Judges II)". The seamless, steamy, multi-timbral drone that underpins Shara Worden's guest vocal on "Lord I Just Can't Keep From Crying Sometimes" demonstrates another side of Colin's mastery and sensibility. The music on New History Warfare Vol. 2: Judges was captured entirely live in single takes at Montréal's Hotel2Tango studio, with no overdubs or looping, using over 20 mics positioned close and far throughout the live room. Guest vocals by Laurie Anderson and Shara Worden (My Brightest Diamond) are the only exceptions to this rule, along with one brief french horn that was multi-tracked. The Judges sessions were co-produced by Stetson and Shahzad Ismaily and engineered by Efrim Menuck at the Hotel2Tango, then taken to Greenhouse Studios in Reykjavik and mixed by Ben Frost, the critically acclaimed experimental electronic/ambient composer and producer whose shared influences of minimalism, noise and black metal made him the perfect choice for a bold and unconventional approach to the raw material. Frost pushes and pans different mic signals to the fore from song to song (and within songs), eliciting a cornucopia of details and extremes in Colin's playing and highlighting the complexity of sounds generated by a single horn in Stetson's hands. Rhythms are formed by clicking keys, minute textures are brought forward by running ambient mics extremely hot, and low end is at times pushed fully into the red to devastating effect. Mastering by Mell Dettmer provides the final touch. The result is a highly original, experimental, euphoric record that fires on all levels: a document of an astoundingly strong and gifted player; a compositional tour-de-force; and a studio production bursting with intensity and inventiveness." [label info] www.cstrecords.com	2011	€14.00
STILLUPPSTEYPA	Schokolino Choco Luco	LP	As I sit down to pen these words for Stilluppsteypa's latest vinyl release on the enigmatic Futura Resistenza label, I find myself jumping back a year or two, reminded of the profound impact this Icelandic ensemble has had on the northern landscape of experimental arts for four decades. Emerging in the early 1990s, Stilluppsteypa began their journey as a punk-oriented band with multiple members. However, their insatiable curiosity for the unconventional soon led them to explore more abstract and electronic terrains as a trio consisting of Heimir Björgúlfsson, Sigtryggur Berg Sigmarsson, and Helgi Thorsson. These Icelanders crafted sound experiments that were uniquely their own, defying the easy categorization and shaped by the distinct longitudes and latitudes they together called home. Stilluppsteypa's early works, such as Reduce by Reducing (1998), showcased a dadaistic and multi-layered approach to sound sculpting that stood proudly apart from the existing trends of the era, such as Mille Plateaux and its contemporaries. By the time of albums like Not a Laughing Matter But Rather a Matter of Laughs (2000) and Stories Part Five (2001), the group had further solidified their reputation for crafting intricate sonic tapestries that continue to challenge and intrigue listeners drawn to the more abstract. After Heimir’s departure around 2002, Sigtryggur and Helgi decided to continue as a duo, delving even deeper into the core of abstract and joyous electronic music. Their collaborations with artists such as Benny Nilsen, Melt-Banana and others resulted in critically acclaimed entities, such as Vikinga Brennivin (2005) and Drykkjuvísur Óhljóðanna (2006), celebrated for their innovative approaches to sound and spot on composition. Now, with this new piece of wax on Futura Resistenza—a Brussels-Rotterdam-based label known for its eclectic, unpredictable, and forward-thinking catalog—Stilluppsteypa continues its admirable mission as the reliable workhorse of European experimentalism, pushing the boundaries of sound to infinity. Without a shred of hesitation, I can say that the group's whimsical ap preciation for chaos—the natural state of the universe—positions their music as a true beacon for a kinder future. The entirety of Schokolino Choco Loco stands as a testament to their commitment to embracing unpredictability, celebrating the disorderly beauty and humor that lies within chaos itself. As you place the needle on the thang, please prepare yourself for a hazy trip through the sonics. These Icelanders invite you to embrace the unexpected — and like nice people they are, they gently give a welcoming smooch to your forehead while at it. Stilluppsteypa's music is not just to be heard but to be experienced, to be tasted, to be touched by. Welcome to the Boundless Joy that arises when artists dare to venture into the uncharted. 28.1.2025, Pori, Finland Juho Toivonen Recorded and mixed between 2017–2023 Mastered by Felix-Florian Tödtloff Layout by Jeroen Wille RESLP036 Futura Resistenza Brussels/Rotterdam, 2025 https://futuraresistenza.bandcamp.com/album/schokolino-choco-loco	2025	€25.50
STRAFE F.R. (STRAFE FÜR REBELLION)	The Bird was stolen	CD	"Based in Düsseldorf, Germany, Strafe F.R. is a long-term collaboration between the artists Bernd Kastner and S. M. Syniuga, which started in 1979. After a long period of hibernation, The Bird Was Stolen marks their return to Touch following four previous releases in the 80s and early 90s. From their early connection with the local punk and new wave scene, centered around the Ratinger Hof in Düsseldorf, Strafe went on to develop a unique and influential form of sound sculpture that pioneered the use of field recordings alongside home-made instruments and the use of the studio as a performance space. A new track, ‘Virgin’, which appeared on the recent Touch Movements CD/book, gave an early indication that they are back at the peak of their powers. The Bird Was Stolen presents 14 new compositions that push the signature sound of Strafe F.R."	2018	€15.00
	Soundless Sphere	CD	New album Soundless Sphere by avantgarde veterans Strafe F.R. Soundless Sphere is the all new album by Duesseldorf duo Strafe F.R. It contains eight pieces combining treated vocals, multidimensional rhythmic structures and heavy electronics forming a bright and lively sonic landscape. The album also emanates a sense of urgency fitting for our times. Soundless Sphere was mastered by Kai Blankenberg. A sister release with different and yet amazing unheard sounds, entiteled Octagon Sphere, will be released later this year by aufabwegen as a vinyl LP. STRAFE FÜR REBELLION (or STRAFE F.R.) STRAFE FÜR REBELLION was founded in 1979 in Düsseldorf by the two artists Siegfried Michael Syniuga and Bernd Kastner. Conceived as an experimental project rather than a band, the duo is active since the early 1980s, they continue to work together to this day. They demonstrated their subtle abilities in numerous performances and concerts. The members of STRAFE FÜR REBELLION see themselves as researchers on different visual and acoustic levels; they always make use of their idiosyncratic and unusual humor. The duo emphasize that they not only explore the world of music, but also incorporate elements of knowledge, and thus all usable influences, into their experiments. Working plans, storyboards, and compositional schemas usually serve as the basis for new musical projects. Their texts reflect their interest in science, history, philosophy, as well as everyday phenomena, mass media, and popular culture: in their experimental sound experiences, performances, and installations STRAFE FÜR REBELLION are absolutely avant-garde, working at the forefront of research-performatively, acoustically, visually, and in a variety of media. Their motto always remains aesthetically uncompromising with serious pleasure. Gregor Jansen Kunsthalle Düsseldorf https://aufabwegen.bandcamp.com/album/soundless-sphere "Es gibt Namen, die man gefühlt seit Ewigkeiten kennt. Das aus Bernd Kastner und Siegfried Michail Syniuga bestehende Düsseldorfer Duo begann 1979 unter dem damals noch längeren Namen Strafe Für Rebellion und brachte bis Mitte der 90er eine Reihe von Arbeiten heraus, bevor es still wurde. Seit 2014 sind einige Alben erschienen und nach dem jüngst veröffentlichten “Soundless Sphere” soll im Laufe des Jahres ein so-betiteltes “sister release” namens “Octagon Sphere” erscheinen. Oftmals ist davon die Rede, Strafe F.R. seien schwer kategorisierbar, ließen sich keinen Genre zuordnen, was sicher meistens als Lob zu verstehen ist. Und tatsächlich: “Soundless Sphere”, von Touch-Designer Jon Wozencroft gestaltet, ist ein im besten Wortsinne eigenwilliges Album: Der Opener„Cannot“ mit seltsmen perkussiven Loops und Samples von Frauengesang (dem auf dem gesamten Album eine zentrale Rolle zukommt) erinnert entfernt an Coil in ihrer mittleren Schaffensphase. „Silver Attack“ knüpft etwas daran an. “Black Camel” ist ein hektisches technoides Stück mit bizarren Stimmsamples (“A gorilla is an animal. Gorillas are black. Have you ever seen an elephant?”). “Twenty Two Steps” wird durchzogen von (retro-)futuristischen fiependen Sounds, während “Nox Piano” anfangs eher ambienten Charakter hat. Was bei allen acht Stücken auffällt, ist ein Moment des Skurrilen, des leichten Augenzwinkerns und zudem eine Fülle, ein Füllhorn an Brüchen und ganz eigenen Sounds. Wenn es wenn es von Labelseite heißt, die Band forme „a bright and lively sonic landscape”, dann möchte man uneingeschränkt zustimmen, denn im Gegensatz zu vielen anderen aus dem (weiten Feld des) Postindustrial stammenden Künstlern wohnt der Musik von Strafe F.R. tatsächlich etwas Leichte(re)s inne." [MG / African Paper]	2022	€13.00
STRIGAE / ATROX PESTIS	same	MC	"20 minutes of material from two dark ambient side projects. Atrox Pestis is Grant Richardson of Gnawed and Strigae is Leo Brucho. Both artists are know for their PE and HN material but come out strong with these tracks of eerie ambience reminiscent of being lost in the woods while you wait for the night to consume you." https://phagetapes.miiduu.com/atrox-pestis-strigae-split-c40	2017	€8.00
SUBINTERIOR / SELAXON LUTBERG	The Meeting	do-LP	"Stunning 4-part collaborative series between these 2 Italian ambient artists, released together in one glorious 2xLP set! Originally released on Selaxon Lutberg's own label, Cold Current Productions, each part is dedicated to a season and was released separately on 3"" CD-R in an edition of only 50 copies. We (denovali + murkhouse) just thought this was too good to be heard by so few people and limited to the CD-R format, though. Beginning with Winter Meeting and going through the seasons in order to end with Fall Meeting, each part will be given one side of 12"" vinyl. The mood on each part is slightly different, reflective of the mood or feel of its respective season, ranging from cold, icy textures to warm, soothing ambience. comes with an amazing artwork on thick printed innersleeves, thick gatefold cover and 180g vinyl. Limited to 500 pieces in total and no repress!" [label info] www.denovali.com www.myspace.com/selaxonlutberg	2010	€22.50
SUBOTNICK , MORTON	Silver Apples of the Moon	LP	"Re-issued on vinyl for the first time since its original 1967 release! Morton Subotnick's truly visionary electronic master piece 'Silver Apples Of The Moon' on an audiophile 180gr LP, especially mastered for vinyl.As composer, musician and initiator of the San Francisco Tape Music Center which he co-founded with Pauline Oliveros and Ramon Sender in 1961, Morton Subotnick (born 1933) has propelled the progress of electronic music in several significant ways. From 1963 on he worked with Don Buchla on the development of the early synthesizer 'Buchla Series 100' before moving to New York where the artist-in-residence at the newly established Tisch School Of The Arts of the New York University was enabled to set up his own studio. That's where Subotnick's most popular work 'Silver Apples Of The Moon' was commissioned by Nonesuch as the first electronic composition ever that was especially conceived for a vinyl release (in opposition to the common practice of performing live). Till the current day this seminal album has not lost his visionary power, has since long been considered one of the essential milestones in electronic music with great effect on later generations of artists - starting from the cult formation Silver Apples to Laika who titled their debut 'Silver Apples Of The Moon' too. Now for the first time since its original 1967 release, Subotnick's masterpiece (which was selected for the Library Of Congress in 2009) has finally been made available on vinyl at last: a new audiophile 180gm LP that was cautiosly remastered for vinyl. Limited to 500 items worldwide!" [label info] www.karlrecords.net	2014	€20.00
SUDDEN INFANT	My Life's a Gunshot	4 x LP	"Top shelf all the way - we're all amateurs when he hits the stage!" - Ron Lessard / RRRecords " Limited edition of 500 Paintings by Joke Lanz Essay by G.X. Jupitter-Larsen Mastered by Rashad Becker Design by Bill Kouligas Compiled & selected by Joke Lanz & Ed Benndorf These two double LP's combine 49 rare and unreleased tracks as well as some of Sudden Infant's most essential and radical work from the last twenty years. Beautifully housed in two fold-out double LP's with original cover paintings by Joke Lanz and an exclusive 4-page essay by GX Jupitter-Larsen. No CD or download releases planned. "Born in Switzerland, now based in Berlin, Joke Lanz (aka Sudden Infant) is one of the most prolific and profound artists working in the border zones where performance and body art meet improvisation and Noise. In his Sudden Infant guise, Lanz creates a unique blend of physical sound poetry and epileptic noise bursts, using contact microphones, loops, tapes, etc. The result is an extreme form of musique concrète that juxtaposes spasmodic gibbering with a battery of disorienting electronics." - The Wire Recent selected activities: Artist residencies in Berlin (1999) and London (2004) Composition assignment by Pro Helvetia - Arts Council of Switzerland (2006) Lectures and workshops at: Musicacademy Lucerne Switzerland 2003/05 University of Stellenbosch South Africa 2008 University of Music and Performing Arts Vienna Austria 2009 Noise for kids workshops and presentation at: Avanto Festival Helsinki Finland 2005 Henie Onstad Art Center Oslo Norway 2009 Several compositions for Contemporary Dance, Films, Radioplays and Soundinstallations Innumerable releases on international labels e.g. Schimpfluch, Entr'acte, RRR, Tochnit Aleph, Blossoming Noise, SSSM, Artware, Klanggalerie, MSBR, Some Bizarre, iDeal." [full label info] "Joke Lanz Is Back! - Mit einem großen Knall, viel Krawall und Krach stürzt diese 8-seitige und Vinyl-Only-Mammut-Werkschau von SUDDEN INFANT auf einen ein. Er schlägt mehr als einmal einen unvorhersehbaren Haken und läßt den Hörer eigentlich immer erwartungsvoll zurück auf das was denn da als nächstes kommen wird. Natürlich könnte man sich die Titelliste zur Hand nehmen, aber das bedeutet man verdirbt sich seinen eigenen Spaß. Es tun sich tausend von Eindrücken auf. Man wird förmlich von der Schwere des Vinyls und der Intensität der Darbietung in diese, seine Welt hinabgezogen. Verschiedenste Spielarten der freien Muzak werden in unterschiedlichster Charakteristik und Aufnahmemedien zum Verzerr angeboten. Manches wird den einen oder anderen stören, was wiederum andere in Entzückung versetzt. Vom Erzeuger selber wurde an dieser Zusammenstellung bis zum Ende gefeilt, gearbeite und gestaltet. Diese Liebe zum Detail ist umwerfend, gnadenlos und vollgestopft mit naiver Spielfreude und entwaffnender Offenheit. Ein Essay zu SUDDEN INFANT vom G.X. Jupitter-Larsen höchstpersönlich rundet diese außergewöhnliche und beispielhafte Veröffentlichung ab. Essentiell für alle, die das Wort "Industrial" auch weiterhin gedenken im richtigen Kontext in den Mund zu nehmen! Zubeißen! (10)" [Carsten Vollmer, ELEKTRISCHE ZONE]	2010	€49.00
SUN OF THE SEVENTH SISTER	Farben Raum	CD	Das totale Freak-Orchester aus Australien, bis zu 25 Mitspieler! Diese Aufnahme stammt vom Februar 2007, ein vielschichtiges Impro-Chaos, welches aber recht gemächlich und "slow" bis düster daher kommt (und teils mit deutschen (!) Sprechgesang in FAUSTischer Manier. Für Freunde von NIHILIST SPASM BAND, BORBETOMAGUS, AMM,... auf dem RATS WITH WINGS-Label! "Following on from their 2007 New Zealand tour triple lathe cut LP, and 6 cassette boxset on Breakdance The Dawn, comes Farben Raum, the debut CD by Sun of the Seventh Sister. This floating line-up, mushroom fuelled free-psych woolly mammoth often consists of a phalanx of between 10 and 25 players: multiple drummers, multiple electrified chordophones, horns, vocals, oscillators etc. Imagine half a dozen freak-folk ensembles congealing into a psychedelic din of Borbetomag-ian proportions. On this occasion SSS comprised members of xNoBBQx, UnAustralians, Arse Lunch, Cock Up Shitting Whore, Rats With Wings, Stasis Duo and others. The CD consists of 3 immense tracks, taken from a 3 hour straight session, lovingly recorded by the Pulled Out mobile unit, with mastering analysis for Heard Worse Records by DJ Beefcurtains." [label notes] "Sun of the seventh sister is a collective of artists-musicians from Australia and New Zealand ranging in number from 10-25 players. Their rack of instruments is pretty immense including multiple drummers, electrified chordophones, horns, vocals, oscillators, electric guitars and pretty much everything they can put their hands on. This hord of nomad musicians reminds me of the nomadic artists of the middle-ages with everything that this brings to mind, the madness, the immersion into music, the ecstatic ceremonies. This is not just a free-jam as you might imagine or a free-folk cult (chic). This is a gigantic psychedelic beast that roars and screams and calms and bursts and back to the start featuring members of xNoBBQx, UnAustralians, Arse Lunch, Cock Up Shitting Whore, Rats With Wings, Stasis Duo (featured in our own deconstructive music triple cd compilation) and others. This cd on heard worse records includes 3 long length nameless of course tracks and a total run time of almost 80 minutes of bodily absorbed orchestrated pray and prophecy or what you might imagine that it should sound like. Ranging from free form improvisation to ecstatic jazz and ecstatic folk this is not a record but an experience I wish I could have lived live. It worth every single second, especially the third track that is unbelievably intense!" [Random E-Zine]	2007	€13.00
SUNN O)))	Sunn O))) [Oxblood Vinyl]	do-LP	For nearly 30 years, SUNN O))) – Stephen O’Malley and Greg Anderson – have pushed the boundaries of heavy music, straddling the worlds of the avant-garde and rock to forge a style instantly recognisable as their own. Now, SUNN O))) return with their first album of new material since 2019’s acclaimed Pyroclasts. Their tenth album – their debut for new label Sub Pop – demonstrates the duo’s mastery of time and space, light and dark, and their willingness to evolve their unmistakable sound into bold new forms. The eponymously titled SUNN O))) was tracked at Bear Creek Studios, Woodinville, Washington with Brad Wood (HuM, Tar, Sunny Day Real Estate, Liz Phair). This location would prove crucial to the recording process. “The vast tracking room had big windows looking out on trees,” says O’Malley. “We could go hiking and be out in the woods, spend time outdoors. That became a big part of it.” “It was very inviting and very comfortable there,” adds Anderson. “There was no stress, no worry about the timeline or anything like that. We just let ourselves go, and let the music come out.” SUNN O))) have long welcomed collaborators into their self-contained world, including such esteemed fellow travellers as Hungarian vocal explorer Attila Csihar, Icelandic composer Hildur Guðnadóttir, Seattle-based multi-instrumentalist Steve Moore, Texan polymath Mark Deutrom, Silkworm co-founder Tim Midyett and legendary singer-songwriter Scott Walker. For the new album, however, O’Malley and Anderson explore the still-fertile, primal territory of the duo format. “On this album for the first time all of the instrumentation was performed by Greg and I,” says O’Malley. “All of the records have our leadership and direction, of course, but this time around, it was almost like this crucible of ideas that was really at the core of what we’ve been doing.” Recording exclusively as a duo should not be interpreted as SUNN O))) limiting or restricting themselves. To the contrary, it has opened up new possibilities for their music. “What’s been happening with our performances over the last couple years with the two of us and no other collaborators or players has been really fresh and exciting,” says Anderson. “There’s been a lot of development. A lot of that was unexpected. And a lot of things that happened in the studio were really exciting and different from what we had been playing live, as well.” The six compositions on SUNN O))) are expansive and panoramic yet finely detailed, reflecting the arboreal setting in which they were recorded. Opener “XXANN” enters with howling feedback before crunching into what might at first seem familiar territory – until one registers the sound of water trickling beneath. “Mindrolling” likewise incorporates field recordings, as does “Glory Black”, which in addition introduces piano, by turns sonorous and delicate, into the mix, lending the already formidable piece a hushed, solemn feel. The Newcastle-forged originators of black metal get a shout out in the title of “Does Anyone Hear Like Venom?” which seems to position Cronos, Mantas and Abaddon as deep listeners, attuned to their Tyneside surroundings in much the same way as SUNN O))) are to the forest enfolding Bear Creek Studios. Throughout the album, the interplay between O’Malley and Anderson attains fresh heights of telepathic intensity as they shape a music that itself breathes the bracing, earthy air of the Pacific Northwest. “It’s always developing,” says Anderson. “That’s a constant, and that’s what sustains my interest and passion. There’s a movement that’s happening, whether it’s forward, backwards, to the side, whatever. That’s what makes playing in this group, at least for me, different and unique and special.” In October 2025 SUNN O))) released the first fruit of a new deal with celebrated US label Sub Pop in the form of a maxi 12” featuring “Eternity’s Pillars”, “Raise The Chalice” and “Reverential” – three monumental tracks from the same sessions that produced the new album. The alliance with Sub Pop makes perfect sense, as Anderson explains. “We decided that we should approach Sub Pop, after I’d had some great conversations with Jonathan Poneman,” he says. “So I called him up and before I could get the words out of my mouth, he said, ‘We’d love to do it. Tell me what you guys need.’ He was really excited and supportive.” SUNN O))) are no strangers to striking cover art – as illustrated by their collaborations with Joanne Ratcliffe for Black One, Richard Serra for Monoliths & Dimensions, Angela LaFont Bolliger for Kannon and Samantha Keely Smith for Life Metal and Pyroclasts. For SUNN O))) they have been granted permission by the estate of the late American artist Mark Rothko to reproduce two of his paintings on the album’s sleeve. “Over a few years, I developed a correspondence with Christopher Rothko via the Rothko Foundation’s Henry Mandell,” explains O’Malley. “It’s such an honour to be in the proximity of art on that scale, which has moved me personally so much for decades. Standing in front of a Rothko painting you can experience landscapes, worlds and environments subjectively in the abstraction.” Liner notes for the album are provided by award-winning British writer Robert Macfarlane, famed for his works concerning landscape and the multifaceted relationship between humanity and nature. Macfarlane negotiates the peaks and valleys of the SUNN O))) sound in a poetic, philosophical manner that will be familiar to readers of Mountains Of The Mind: A History Of A Fascination (2003), The Wild Places (2007), Underland: A Deep Time Journey (2019) or Is A River Alive? (2025). “I’ve been very interested in Robert’s writing for a long time,” says O’Malley. “He was very up for engaging with this project. And what he ended up turning in was mind-blowing. It’s part of the creative process, framing our music in a certain way, visually and with language, before presenting it to the world.” SUNN O))) also worked with French artist Elodie Lesourd, whose illustration work is featured on the inner LP sleeves and accompanying album merch. All of which adds up to a fully immersive experience, uniting sound, word and visual into something that is undeniably, completely SUNN O))). Joseph Stannard, January 2026 https://www.subpop.com/artists/sunn_o Seit fast 30 Jahren erweitern SUNN O))) - Stephen O'Malley und Greg Anderson - die Grenzen der Heavy-Musik und verbinden die Welten der Avantgarde und des Rock, um einen Stil zu schaffen, der sofort als ihr eigener erkennbar ist. Jetzt melden sich SUNN O))) mit ihrem ersten Album mit neuem Material seit dem gefeierten Pyroclasts aus dem Jahr 2019 zurück. Ihr zehntes Album - ihr Debüt bei Sub Pop - zeigt, wie gut das Duo mit Zeit und Raum, Licht und Dunkelheit umgehen kann und dass sie bereit sind, ihren unverwechselbaren Sound zu neuen, mutigen Formen weiterzuentwickeln. Das gleichnamige Album ,SUNN O)))" wurde in den Bear Creek Studios in Woodinville, Washington, mit Brad Wood (HuM, Tar, Sunny Day Real Estate, Liz Phair) aufgenommen. Dieser Ort erwies sich als entscheidend für den Aufnahmeprozess. ,Der riesige Aufnahmeraum hatte große Fenster mit Blick auf Bäume", sagt O'Malley. ,Wir konnten wandern gehen und draußen im Wald sein, Zeit im Freien verbringen. Das war ein wichtiger Teil davon." SUNN O))) haben schon lange Mitwirkende in ihre eigenständige Welt aufgenommen: In früheren Werken waren Attila Csihar (Mayhem), die Komponistin Hildur Gudnadóttir, der Multi-Instrumentalist Steve Moore, der Universalgelehrte Mark Deutrom, Tim Midyett von Silkworm und der legendäre Singer-Songwriter Scott Walker zu hören. Auf diesem Album haben O'Malley und Anderson jedoch neue Möglichkeiten im ursprünglichen Format des Duos entdeckt und alle Instrumente selbst gespielt. ,Was in den letzten Jahren mit unseren Auftritten zu zweit und ohne weitere Mitwirkende passiert ist, war wirklich neu und aufregend", sagt Anderson. Die Kompositionen auf SUNN O))) sind weitläufig und panoramisch, aber dennoch detailreich und spiegeln die baumreiche Umgebung wider, in der sie aufgenommen wurden. Inmitten von heulendem Feedback und eisigem Knirschen findet man überraschend zarte Momente: eine Feldaufnahme von plätscherndem Wasser im Hintergrund, Klavierzwischenspiele, die eine gedämpfte, feierliche Stimmung erzeugen. Dabei erreicht das Duo neue Höhen telepathischer Intensität, während es Musik formt, die die belebende, erdige Luft des pazifischen Nordwestens atmet. Visuell wird das Album von zwei Gemälden des verstorbenen amerikanischen Künstlers Mark Rothko eingerahmt. Die Liner Notes stammen vom preisgekrönten britischen Schriftsteller Robert Macfarlane, der für seine Werke über Landschaft und die Beziehung zwischen Mensch und Natur bekannt ist. Durch die Arbeit der Band, Macfarlane und Rothko verbinden sich Klang, Wort und Bild zu einem umfassenden Erlebnis, das unbestreitbar ganz und gar SUNN O))) ist.	2026	€32.50
	Sunn O)))	CD	Seit fast 30 Jahren erweitern SUNN O))) - Stephen O'Malley und Greg Anderson - die Grenzen der Heavy-Musik und verbinden die Welten der Avantgarde und des Rock, um einen Stil zu schaffen, der sofort als ihr eigener erkennbar ist. Jetzt melden sich SUNN O))) mit ihrem ersten Album mit neuem Material seit dem gefeierten Pyroclasts aus dem Jahr 2019 zurück. Ihr zehntes Album - ihr Debüt bei Sub Pop - zeigt, wie gut das Duo mit Zeit und Raum, Licht und Dunkelheit umgehen kann und dass sie bereit sind, ihren unverwechselbaren Sound zu neuen, mutigen Formen weiterzuentwickeln. Das gleichnamige Album ,SUNN O)))" wurde in den Bear Creek Studios in Woodinville, Washington, mit Brad Wood (HuM, Tar, Sunny Day Real Estate, Liz Phair) aufgenommen. Dieser Ort erwies sich als entscheidend für den Aufnahmeprozess. ,Der riesige Aufnahmeraum hatte große Fenster mit Blick auf Bäume", sagt O'Malley. ,Wir konnten wandern gehen und draußen im Wald sein, Zeit im Freien verbringen. Das war ein wichtiger Teil davon." SUNN O))) haben schon lange Mitwirkende in ihre eigenständige Welt aufgenommen: In früheren Werken waren Attila Csihar (Mayhem), die Komponistin Hildur Gudnadóttir, der Multi-Instrumentalist Steve Moore, der Universalgelehrte Mark Deutrom, Tim Midyett von Silkworm und der legendäre Singer-Songwriter Scott Walker zu hören. Auf diesem Album haben O'Malley und Anderson jedoch neue Möglichkeiten im ursprünglichen Format des Duos entdeckt und alle Instrumente selbst gespielt. ,Was in den letzten Jahren mit unseren Auftritten zu zweit und ohne weitere Mitwirkende passiert ist, war wirklich neu und aufregend", sagt Anderson. Die Kompositionen auf SUNN O))) sind weitläufig und panoramisch, aber dennoch detailreich und spiegeln die baumreiche Umgebung wider, in der sie aufgenommen wurden. Inmitten von heulendem Feedback und eisigem Knirschen findet man überraschend zarte Momente: eine Feldaufnahme von plätscherndem Wasser im Hintergrund, Klavierzwischenspiele, die eine gedämpfte, feierliche Stimmung erzeugen. Dabei erreicht das Duo neue Höhen telepathischer Intensität, während es Musik formt, die die belebende, erdige Luft des pazifischen Nordwestens atmet. Visuell wird das Album von zwei Gemälden des verstorbenen amerikanischen Künstlers Mark Rothko eingerahmt. Die Liner Notes stammen vom preisgekrönten britischen Schriftsteller Robert Macfarlane, der für seine Werke über Landschaft und die Beziehung zwischen Mensch und Natur bekannt ist. Durch die Arbeit der Band, Macfarlane und Rothko verbinden sich Klang, Wort und Bild zu einem umfassenden Erlebnis, das unbestreitbar ganz und gar SUNN O))) ist. For nearly 30 years, SUNN O))) – Stephen O’Malley and Greg Anderson – have pushed the boundaries of heavy music, straddling the worlds of the avant-garde and rock to forge a style instantly recognisable as their own. Now, SUNN O))) return with their first album of new material since 2019’s acclaimed Pyroclasts. Their tenth album – their debut for new label Sub Pop – demonstrates the duo’s mastery of time and space, light and dark, and their willingness to evolve their unmistakable sound into bold new forms. The eponymously titled SUNN O))) was tracked at Bear Creek Studios, Woodinville, Washington with Brad Wood (HuM, Tar, Sunny Day Real Estate, Liz Phair). This location would prove crucial to the recording process. “The vast tracking room had big windows looking out on trees,” says O’Malley. “We could go hiking and be out in the woods, spend time outdoors. That became a big part of it.” “It was very inviting and very comfortable there,” adds Anderson. “There was no stress, no worry about the timeline or anything like that. We just let ourselves go, and let the music come out.” SUNN O))) have long welcomed collaborators into their self-contained world, including such esteemed fellow travellers as Hungarian vocal explorer Attila Csihar, Icelandic composer Hildur Guðnadóttir, Seattle-based multi-instrumentalist Steve Moore, Texan polymath Mark Deutrom, Silkworm co-founder Tim Midyett and legendary singer-songwriter Scott Walker. For the new album, however, O’Malley and Anderson explore the still-fertile, primal territory of the duo format. “On this album for the first time all of the instrumentation was performed by Greg and I,” says O’Malley. “All of the records have our leadership and direction, of course, but this time around, it was almost like this crucible of ideas that was really at the core of what we’ve been doing.” Recording exclusively as a duo should not be interpreted as SUNN O))) limiting or restricting themselves. To the contrary, it has opened up new possibilities for their music. “What’s been happening with our performances over the last couple years with the two of us and no other collaborators or players has been really fresh and exciting,” says Anderson. “There’s been a lot of development. A lot of that was unexpected. And a lot of things that happened in the studio were really exciting and different from what we had been playing live, as well.” The six compositions on SUNN O))) are expansive and panoramic yet finely detailed, reflecting the arboreal setting in which they were recorded. Opener “XXANN” enters with howling feedback before crunching into what might at first seem familiar territory – until one registers the sound of water trickling beneath. “Mindrolling” likewise incorporates field recordings, as does “Glory Black”, which in addition introduces piano, by turns sonorous and delicate, into the mix, lending the already formidable piece a hushed, solemn feel. The Newcastle-forged originators of black metal get a shout out in the title of “Does Anyone Hear Like Venom?” which seems to position Cronos, Mantas and Abaddon as deep listeners, attuned to their Tyneside surroundings in much the same way as SUNN O))) are to the forest enfolding Bear Creek Studios. Throughout the album, the interplay between O’Malley and Anderson attains fresh heights of telepathic intensity as they shape a music that itself breathes the bracing, earthy air of the Pacific Northwest. “It’s always developing,” says Anderson. “That’s a constant, and that’s what sustains my interest and passion. There’s a movement that’s happening, whether it’s forward, backwards, to the side, whatever. That’s what makes playing in this group, at least for me, different and unique and special.” In October 2025 SUNN O))) released the first fruit of a new deal with celebrated US label Sub Pop in the form of a maxi 12” featuring “Eternity’s Pillars”, “Raise The Chalice” and “Reverential” – three monumental tracks from the same sessions that produced the new album. The alliance with Sub Pop makes perfect sense, as Anderson explains. “We decided that we should approach Sub Pop, after I’d had some great conversations with Jonathan Poneman,” he says. “So I called him up and before I could get the words out of my mouth, he said, ‘We’d love to do it. Tell me what you guys need.’ He was really excited and supportive.” SUNN O))) are no strangers to striking cover art – as illustrated by their collaborations with Joanne Ratcliffe for Black One, Richard Serra for Monoliths & Dimensions, Angela LaFont Bolliger for Kannon and Samantha Keely Smith for Life Metal and Pyroclasts. For SUNN O))) they have been granted permission by the estate of the late American artist Mark Rothko to reproduce two of his paintings on the album’s sleeve. “Over a few years, I developed a correspondence with Christopher Rothko via the Rothko Foundation’s Henry Mandell,” explains O’Malley. “It’s such an honour to be in the proximity of art on that scale, which has moved me personally so much for decades. Standing in front of a Rothko painting you can experience landscapes, worlds and environments subjectively in the abstraction.” Liner notes for the album are provided by award-winning British writer Robert Macfarlane, famed for his works concerning landscape and the multifaceted relationship between humanity and nature. Macfarlane negotiates the peaks and valleys of the SUNN O))) sound in a poetic, philosophical manner that will be familiar to readers of Mountains Of The Mind: A History Of A Fascination (2003), The Wild Places (2007), Underland: A Deep Time Journey (2019) or Is A River Alive? (2025). “I’ve been very interested in Robert’s writing for a long time,” says O’Malley. “He was very up for engaging with this project. And what he ended up turning in was mind-blowing. It’s part of the creative process, framing our music in a certain way, visually and with language, before presenting it to the world.” SUNN O))) also worked with French artist Elodie Lesourd, whose illustration work is featured on the inner LP sleeves and accompanying album merch. All of which adds up to a fully immersive experience, uniting sound, word and visual into something that is undeniably, completely SUNN O))). Joseph Stannard, January 2026 https://www.subpop.com/artists/sunn_o	2026	€15.00
SUTCLIFFE JUGEND & JUNKO	Sans Palatine Uvula	CD	This collaborative work between these two unique and respected artists of different genres from East and West encloses the listener with sonic chaos through its ten varied tracks. For some, it may seem like a difficult album to digest at the first listen. However, the tensions that have been separately produced from the harsh elements of voice and sound eventually subside as they resonate with each other, bringing forth a balanced unity of yin and yang. The results demonstrate a very unique reconstruction of the shriek queen’s original vocal outbursts, which see them being reworked and reinvented separately through manipulative treatments of cut-ups, distortions, samplings and introduction of other sonic elements. www.youtube.com/watch?v=VhIkO3WiBys	2013	€13.00
SUZUKI, AKIO	A I Sha / あいしゃ	LP	"Needless to say, Akio Suzuki is one of the representative sound artists in Japan. Many of his previous releases are sometimes interpreted as the work of a hermit or wizard creating beautiful sounds with his self-made musical instrument called 'Analapos,' glass harmonica (De Koolmees), and stone flute, but the title of Suzuki's first sound piece, aidan ni Mono wo Nageru (Throwing Things at the Stairs) at Nagoya Station in 1963, reflects his perspective on the noises in his work. This LP consists of two 2009 performances created with the use of radio. 'Howling Objects,' with reverberation of a large museum space, and 'a i sha,' in which the radio moves throughout the museum, can be noise itself, but they exist in accordance with the method of 'Oto-date' and 'Tadori' for which Suzuki has been continuously searching. Here, an approach to Suzuki's hardcore sound in his nature is surely concentrated. 'It was at a solo exhibition in the Minamigaro gallery in Nihonbashi, Tokyo in 1976 when I held the premiere showing of 'Howling Objects'. When I inserted the microphone into the cylinder of the stand type Analapos, and played echo sound, I was surprised to cause a howling. From that incident, I arranged iron 'wappa' boxes (cylindrical containers formed by bending a thin plate), inserted two wireless microphones with echoes in the boxes and moved the position of the boxes to search for a sound. ... In the performance I did at the 21st Century Museum of Contemporary Art, Kanazawa, I used roll papers, microphones and radios to revisit 'Howling Objects'. These radios and microphones used from the 1970s have been increasingly degraded in recent years, so this performance has become the last one. 'a i sha' is a performance in which the two radios used in 'Howling Objects' are loaded onto a small dolly and moved around the museum. After setting the radios to AM, selecting the noise wavelengths and tuning the two radios to be able to hear an interesting rhythm, I adjust the volume to an appropriate level and start. As the sound landscape changes by the directionality of radio by moving over to a corridor, wide space and a window, I share the sound field with the people who happen to be there by chance and the people chasing the dolly'. Akio SuzukiFull-color cover photo on sleeve. New liner notes in Japanese and English by Suzuki. Limited edition of 250." [label info] omega-point.shop-pro.jp	2015	€32.00
SVARTSINN	Of Darkness and Re-Creation	CD	"First in a series of collaborations between Ewers Tonkunst and Cyclic Law, this is a re-issue of long sold out second Svartsinn album from the year 2003. “Of Darkness And Re-Creation” is a “collection of stories based on heavy mind struggles, emotional complicity or elegies which either leads to emptiness or dark places for a re-creation of the self image. Darkness is all around us or inside each and every one of us, let¹s not fear it.. Prosper in darkness...” (from the original edition release notes). Maybe most hopeless and desperate music ever done by Svartsinn’s mastermind’s Jan Roger Pettersen, it is definitely one of the classical works from this “new” generation of dark ambient artists that were gathered around Cyclic Law in the first decade of 2000’s. This edition has completely new artwork and new mastering, it is limited to 500 copies and comes in a stylish monochrome mini LP-like cover with inner sleeve, both with some silkscreened elements." [label info] www.cycliclaw.com https://cycliclaw.bandcamp.com/album/of-darkness-and-re-creation	2010	€13.00
SWANS	Leaving Meaning	do-CD	SWANS Leaving Meaning is the band’s fifteenth studio album, the follow up to 2016’s The Glowing Man and due for release by Mute / Young God Records (N America) on 25 October 2019. Leaving Meaning will be released on double vinyl in a brown chipboard sleeve, double CD in a brown chipboard digipack and digitally. Listen to the first track from the album, ‘It’s Coming It’s Real’: https://youtu.be/3ZVZo30M8Lc Written and produced by Michael Gira, the album features contributions from recent and former Swans, members of Angels of Light as well as Guest Artists Anna and Maria von Hausswolff, Ben Frost, The Necks, Baby Dee, and a Hawk and a Hacksaw – full personnel list below. Michael Gira explains, “Leaving Meaning is the first Swans album to be released since I dissolved the lineup of musicians that constituted Swans from 2010 – 2017. Swans is now comprised of a revolving cast of musicians, selected for both their musical and personal character, chosen according to what I intuit best suits the atmosphere in which I’d like to see the songs I’ve written presented. In collaboration with me, the musicians, through their personality, skill and taste, contribute greatly to the arrangement of the material. They’re all people whose work I admire and whose company I personally enjoy.” “Here below are the primary contributors to Leaving Meaning: Michael Gira – Vocals, words, acoustic/electric guitar, production. I started Swans in NYC in 1982 and have been the primary songwriter, singer and producer throughout the years. In the early years I played bass, but later switched to guitar. During the years of Swans hiatus (1999 – 2010), I released several albums by and toured with a group called Angels of Light. Kristof Hahn – Lap steel, various guitars throughout, backing vocals, generous and insightful advice on mixes and arrangements. Kristof first became involved with Swans in 1989, was a principal contributor to Angels of Light, and a core Swans member 2010 – 2017. Kristof’s other musical ventures have included the Rock ‘n’ Roll Noir band Les Hommes Sauvages and Kool Kings (with Alex Chilton). He’s currently working on an instrumental record for Lawrence English’s label, Room 40. He holds a master’s degree in Political Science, and when Swans doesn’t pay the bills, he translates books for a living. Kristof’s presence, on and off tape, is pivotal to this record. Kristof lives in Berlin, Germany. Larry Mullins – Drums, vibes, orchestral percussion, Mellotron, various keyboards, backing vocals. Larry (AKA Toby Dammit) is a trained symphonic percussionist and all-around consummate musician. He played through the 90s with Iggy Pop and later with The Stooges. He played with Swans in the late 90s and was a main contributor to Angels of Light. He is rumored to have been involved with The Residents. His varied and numerous credits also include a stint with Silver Apples as well as recently, Shakespears Sister. His current main job is playing keyboards with Nick Cave and the Bad Seeds. I decided immediately to ask Larry to contribute to Leaving Meaning after watching the German TV series Babylon Berlin, and suddenly, unbeknownst to me, there was Larry as the main focus of various cabaret scenes, drumming behind a huge kick drum in his inimitable style. After laughing in shock for perhaps half an hour, I decided to contact him. We hadn’t been in close touch for a long time and I’m elated I reached out. Larry lives in Berlin, Germany. Yoyo Röhm – Electric bass, double bass, various keyboards, piano, backing vocals. Yoyo came to my attention through his work with Kristof and Larry in Berlin. In addition to his excellent bass playing, Yoyo’s ears were invaluable in helping to sort out many of the arrangements. Yoyo plays with numerous left field musicians around Berlin and also works with Mick Harvey on his Serge Gainsbourg recordings and tours. Yoyo, Larry, Kristof and I rehearsed in Berlin for 3 weeks prior to recording. Yoyo is a true Berliner – gruff and determined on the outside, a marshmallow inside. He was a great musical resource for this record. The Necks – (Chris Abrahams – piano, organ; Tony Buck – drums, percussion; Lloyd Swanton – double bass). I have been an avid Necks fan since I first saw them perform at a Big Ears Festival in 2010. They subsequently played with Swans at a few shows in Australia. Their live performances and recordings are just about any superlative you can think of – mesmerizing, transcendent, sublime. Their music is entirely improvisational – it’s my understanding that they have no idea what they’re going to play before they start. And yet, mostly using rudimentary jazz trio instrumentation, they manage to fashion burgeoning and ever-evolving, immersive clouds of sound that utterly envelop the listener as the music unfolds. I’m beyond honored and humbled that they agreed to perform the basic tracks for 2 of my songs (The Nub and Leaving Meaning). Their performances were then delicately, and (I hope!) tastefully further orchestrated upon in Berlin. Tony lives in Berlin, and also played drums on the song Some New Things. Anna and Maria von Hausswolff – Choral backing vocals. Anna is blessed with a soaring voice, lyrical acuity and increasing facility with the church organ. I was impressed recently to learn that she often travels around Europe and visits churches unannounced, where she talks her way into being allowed to use the resident organ – some of them rather massive, I imagine – and plays and explores for hours. Her searing records and live shows reflect the courage of her imagination and have garnered her increasing, much deserved recognition. Maria is an accomplished Swedish cinematographer and director of photography. In 2017 I heard Anna and Maria singing together at a sound check for a special song they were doing in Anna’s set, was instantly enthralled, and resolved at that moment to ask them to participate together on a Swans recording. I’m delighted they agreed to come to Berlin and record for me. They were a joy to work with! They live in Scandinavia. Ben Frost – Guitar, synthesizers, sound manipulations. Ben’s adventurous sound-craftings, sometimes harrowing and sometimes delicate and quite musical, and his powerful live shows, have afforded him much recognition of late. I’ve also been highly impressed with his soundtrack work for the HBO series, Dark. He’s an extremely talented arranger and composer. His mission for this record was intentionally ill defined. I basically wanted his ears and sensibility, with no particular part or instrument in mind. I arrived at his studio in Reykjavik, Iceland, put up the songs, and he played what he thought a song needed. I was pleasantly surprised to discover his unique approach to the electric guitar as well as his synth work. Ben also was quite helpful with arrangement and mixing ideas. Ben lives in Iceland. Baby Dee – Lead vocal on The Nub, supported by her friends Fay Christen and Ida Albertje Michels, and Jennifer Gira. Dee has released numerous records (one produced by Bonnie Prince Billie, I think), and if you don’t know them, you should! The first time I saw her she was riding a unicycle in circles outside the now-defunct Avant club, Tonic, in NYC, playing a ukulele (or accordion?) and singing with great mirth. I saw her set that night and was won over. She’s since toured with Swans several times. Her music could loosely be called neo cabaret, but more accurately she’s totally unique and a great performer and songwriter, graced with a powerful voice and high-end ability on the piano, accordion and more. I wrote The Nub specifically for her to sing. I was stymied for words to the main guitar figure to the song, and suddenly she popped into my mind, floating through the universe in diapers, sucking milk from the stars. The song wrote itself. Dee lives in The Netherlands. Jeremy Barnes and Heather Trost – Jeremy: Santur, hi-hat, fiddlesticks, accordion, engineering; Heather: Stroh violin, violin, viola, fiddlesticks, engineering. Together, Jeremy and Heather comprise the band A Hawk and a Hacksaw. (Jeremy played at one time with the bands Neutral Milk Hotel and Beirut). Again, if you don’t know their music, you should! They’ve released several records. It’s Balkan/Gypsy influenced, somewhat psychedelicized, with great singing, playing and melodies. They’re each multi-instrumentalists and they intrepidly travel the world, both touring and simply exploring the Balkans, in search of adventure and master musicians of the region, some of whom they simply befriend, others whom they record. They toured with Swans a while ago, and I’ve had it in the back of my mind to ask them to record on a record since. I travelled to their home studio in Albuquerque, New Mexico, presented the songs, and did the same thing I did with Ben – I said, “Now what?” You can hear them on several songs on the record, sometimes subtly, at other times more pronounced. In any event, it’s great to have such a pair of wonderful humans on the record. ADDITIONAL MUSICIANS: Dana Schechter – Dana played bass on the song ‘Some New Things’. Dana was a core member of Angels of Light. Her current band is Insect Ark. It’s rather heavy and great. Will be working with Dana more soon in the future and very pleased we reconnected recently. Jennifer Gira – Backing vocals throughout and cameo vocal on Sunfucker. Jennifer has sung backing vocals on the past few Swans albums as well as lead vocal on the song When Will I Return? on the last Swans album, The Glowing Man. She’s also of invaluable help on mixing and arrangement decisions. Cassis Staudt – Accordion and harmonium. Cassis was a core member of Angels of Light. She moved to Berlin some time ago and we lost touch. Cassis is a composer of music for films in Berlin. I’m very happy to be working with her again. Norman Westberg – Electric guitar. Norman played on a few key moments on this record. Norman has been in and out of Swans since the beginning (mostly in) and was a core Swans member in 2010 – 2017. We’ll continue to work together into the future, absolutely. Norman releases solo instrumental records through Lawrence English’s Room 40 label. We’re touring (each solo) together in Eastern Europe soon. Christopher Pravdica – Bass guitar, sounds. Chris played at pivotal moments on this record. He was a core Swans member in 2010 – 2017. We’ll continue to work together in the future, absolutely. Chris has recently been enlisted by Jamie Stewart for his band Xiu Xiu. Phil Puleo – Phil played hammer dulcimer on the song Amnesia. This might be considered a severe underutilization of his considerable talents as a drummer, but there’s more to come quite soon. Phil was a core member in Swans 2010 – 2017 and played as a member of Swans in the late 90s and contributed to Angels of Light. Thor Harris – percussion, trumpet, clarinet, sounds, bells, gizmos, additional vibes. Thor drove up from Austin to record for me at Heather and Jeremy’s place in Albuquerque. Always a highpoint to be in the presence of this committed musician and friend. Thor was a core member of Swans in 2010 – 2016 as well as Angels of Light. Certainly, more to come! Thor has his own happening combo, Thor and friends, and they make seductive and beautiful records and tour often. He also has recently been recruited by Jamie for Xiu Xiu. Paul Wallfisch – Paul played piano to great effect here and there on the record. Paul was a touring member of Swans in 2017. He works with the glorious human chanteuse Little Annie. He’s also a musical director for theater productions in Germany, and recently landed a very fancy-pants job as musical director/composer for a theater production at a historical theater in Vienna. Thanks to All!!!! MG”	2019	€18.50
SYNAPSCAPE	Again	CD	"the dynamic duo from bielefeld is back - one and a half years after 'now', tim kniep and philipp münch present another full dose of massive electronics for the mind and body. tracks like 'who painted my cat black' and 'stuck' keep up synapscape's aural trademark: heavyweight interlaced polyrhythms, distorted textures and tim's non-reversible voice - an ecstatic mixture evolved to make you move! on 'countercroque' or 'requirement', crystal clear technoid detroit synth lines meet strictly accentuated beats, disturbing samples and captivating melodies. the more you listen to this album, the more details that will be visible. proper heavy engine! the fascinating aspect of this project's work (since the beginning) is their ability to innovate in a genre in which many participants seem to restrict themselves - despite the countless amount of technical options. once 'again' synapscape assert their position as one of the most innovative artists of industrial music today. ahuenna!" [label info] www.ant-zen.com	2009	€14.00
SYNCHRE	Requiem	CD	All instruments and compositions _ Luca Canciello & Lorenzo Brusci Vocals _ Movement 2, The Zimbabwebird; Movement 1 and 3, Sosta Palmizi Text, Movement 2 (by Zimbabwebird, in Zulu and Shona, 2015): "Thuma mina, mweya mutsvene. Unditumeo" [Send me, pure spirit. And then send me.] Lorenzo Brusci, 1966, co-founder of MUSSTDESIGN.com, managing partner at the music robot start up MUSICFIT (musicfit.ch). He launched over the last 20 years prestigious adventures in the audio and sound space design field as the sound and interactive design studio GIARDINO SONORO (giardinosonoro.com) and the architectural speakers manufacturer ARCHITETTURA SONORA. He has been composing music for various ensembles, theatre, television and radio since the early ’90s (He founded TIMET.org in 1993). Lives between Berlin, Tuscany and Krakow. www.lorenzobrusci.com www.soundcloud.com/lorenzo-brusci Luca Canciello, Italian born, Berlin based. Multi-instrumentalist, composer, sound designer, he performs experimenting with live electronics, instruments and sounds. www.soundcloud.com/climnoizer His musical journey and inspiration have brought him into various fields and art disciplines, working solo or collaborating with other artists and bands. His interest for other art forms, in particular dancing, leads him composing musical pieces for theatre, dance companies, experimenting the various natures of rhythm in music . On sound design, he’s been involved on projects linked to international cultural heritage and architectural media mapping. The mechanism of individual and collective memory and its rituals, are the central inspiration of our Requiem. It’s not a formal Mass; our intention was to harvest and express the community’s need of sharing and binding its ties while facing the experience of death. A deep sense of community - religo in latin, binding in english - inspired our structural research. Requiem becomes then the concerting moment that asks for “holding back”, a desperate request of time suspension, the ultimate demand for re-living, re-experiencing, re-loading, re-gaining, now, in this very ritual and public moment what will be lost forever. Through a free attitude in music composition and expression - our syncretism - we designed a process of electroacoustic layering, consolidating in 3 compositional areas the process and destiny of organic life. - Living Elegy - the enchantment for life and its many endangering gates: the movement is subdivided in (living) Articulation, (ritual)Transition and (pathological) Abandon; - Nostalgia - the seeking for the integral time suspension and life preservation; - Transfiguration - where we depict the organic reaction to danger and biological faith, subdivided in (furious and ultrabiological) detachment, (regenerating) intimate power, (coding the) extended mind, (persuing a new form of) immanency. https://emerge.bandcamp.com/album/requiem "Lorenzo Brusci (Timet, Climnoizer, Giardino Sonoro) & Luca Canciello gestalten als SYNCHRE mit ihrem Requiem (ACU 1009, CD) aus Drones, Breakbeats und dunkel grollenden Blechbläsern (oder Orgelpfeifen) einen Dreisatz aus 'Living Energy', 'Nostalgia' und 'Transfiguration'. Als einen Übergangsritus, mit einer zart flehenden Gesangseinlage von Tozim Madzima aka Zimbabwe Bird, zu plonkenden Lauten aus dem Innenklavier. Danach wieder rauschend sich wälzende, zittrig verzerrte und knarrende Synthie- und Gitarrensounds, mit Vogelgezwitscher durchsetzt und erst zeitlupig gedehnten, dann wieder zuckenden Beats. Und zuletzt auch wieder der dunklen Bläserpracht, zu der sich diese grandiose Musik der brausenden Verwandlung entgegen stürzt. Wer braucht noch eine Leitkultur, nach so einem Durchgang ins weiße Licht?" [Bad Alchemy]	2016	€10.00
SYNDROME	Now and Forever	LP	"Mathieu Vandekerckhove, mostly known for his work with Amenra. For years the self-taught musician learned and studied his craft of songwriting and sound scaping, mainly as a means to self exploration, meditation and attempts at channelling negative into positive energy, this while staying below the surface at all times. Now 2012 marks a turning point for Mathieu Vandekerckhove and Syndrome as he steps forward, with the epic 28 minute long “Now And Forever”. Dedicated to his son Wolf, this track offers words of guidance and will grant you a look into the heart and soul of the artist. Close your eyes and hear the beating heart of pure artistic freedom. First 75 orders will get an extra booklet with photography by Mathieu Vandekerkhove." hypertensionrecords.com "Gent in Ostflandern, Heimat AMENRAs und somit auch die von Mathieu Vandekerckhove. Der AMENRA-Gitarrist ist ebenso wie seine Kollegen ein Vielbeschäftigter. Die belgische Ausnahmekapelle und ihr ganzheitlicher Ansatz wussten im letzten Jahr gemeinsam mit NEUROSIS live dergestalt zu überzeugen, dass der amerikanische “Headliner“ an jedem Abend Vollgas geben musste, wollte die Band nicht von Vandekerckhove und den Seinen in den Schatten gestellt werden. Wer NEUROSIS kennt, weiß, dass sie diese Form der Herausforderung suchen und lieben. Dass Eindruck zum Ausdruck wird, ist ein Wesenszug kreativen Wirkens. Die Belgier indes verzahnen künstlerischen Ausdruck und das eigene Leben eng. Nicht umsonst wird bei keiner Veröffentlichung auch nur ein Aspekt dem Zufall überlassen. Gleiches gilt für alle Projekte der in Gent Beheimateten – gleiches gilt somit auch für SYNDROME. Es geht die Geschichte, dass Vandekerckhoves Projekt einem Zuhause Experimentieren entsprungen sei, vor ca. sieben Jahren. Mit “Now And Forever“ liegt die mittlerweile dritte Veröffentlichung vor, ein Track mit einer Spielzeit von 28 Minuten. Das Stück bildet den Wandel ab, der sich in SYNDROME eingeschrieben hat und setzt sich aus Ambient, Drone, Doom und ja – Folkelementen zusammen. Unterstützung erfährt der Belgier von Bandkollegen Colin H. van Eeckhout und Josh Graham. Letzterer sollte als NEUROSIS-Mitglied und A STORM OF LIGHT-Kopf keiner weiteren Vorstellung bedürfen. “Now And Forever“ startet mit einer eindringlichen Akkordfolge, die sanft von einem Drum durchklopft wird. Der vormals erwähnte Wandel drückt sich immer wieder in einer hohen Verdichtung der einzelnen Sounds aus, schnappt Versätze beinahe beiläufig und schichtet diese sorgsam auf, bereitet so auf das Hervorbrechende und Anstürmende vor, besänftigt diese und überführt sie kurz darauf wieder in mindestens zweimalige, versetzte Wiederholungen desselben Motivs. Die Intervalle des Motivs ändern sich stetig und befördern so den rauschhaften Charakter. Ab Minute neun gesellen sich Vandekerckhoves Brummvocal hinzu, um schließlich durch Colins helle Gesangsparts abgelöst zu werden. Immer bleibt die Gitarre leitend und gleicht dabei aber auch einem Katalysator. Sie senkt nicht nur die Aktivierungsenergie, sie überführt auch Dunkles in Klingendes, Tönendes. Reaktant dabei ist das Niederringende des Alltags, dass in das Ergebnis namens “Now And Forever“ expediert wird. Im Vergleich zu AMENRAs Wirkweise des “Hervorbrechens“ steht bei SYNDROME eher das Aufbrechen im Vordergrund. Wo dort die Ausdehnung, das Treiben und das Herauskommen definiert werden, geht es hier eher um ein Öffnen, ein Aufschließen und Durchstoßen. Das Ein- und Aufweichen von Strukturen geschieht entlang des beschriebenen Wandels. Dabei findet der Hörer AMENRAs die anderen Projekte der Mitglieder in die Wertvorstellungen der Hauptband gut verfugt. Nicht umsonst haben die Belgier mit der CHURCH OF RA eine Form der Herangehensweise gewählt, die in Glaubenssystemen wurzelt. Ernsthaftigkeit ist dabei das Credo, fernab von Dogmen und Hierarchien der Entstehungsgrundlage, sondern vielmehr Basis für eine bedingungslose Hingabe, die Ergebnisse erschließt wie das vorliegende. Dort, wo eine Deckungsgleichheit von Handlungen erzeugt wird, entsteht eine Überzeugungsgemeinschaft, eine, die gemeinsam einen Pfad beschreitet, der an den wenig begangenen Weg Robert Frosts erinnert. Das, was dabei betreten wird, ist gesäumt von einem Streben nach Ganzheitlichkeit in Bild und Ton. Das dort im Verborgenen Schlummernde wird Stück um Stück freigelegt, hoch ist der Aufwand für dieses Abringen, jetzt und für immer." [S.L./Black Magazine] "Nearly a decade ago, Syndrome came into the world through the Belgian mind of one Mathieu Vandekerckhove due to his need for a meditative vehicle through which he could release the negative energy in his life and transform it into something more constructive. This vehicle obviously existed in obscurity, laying dormant in silence for many years before taking on the attributes of droning post-rock and finding a home in 2011 with Belgian label ConSouling Sounds where Vandekerckhove has spent his entire career under this moniker to this point. Life was officially given to Syndrome when “Floating Veins” was released last June, finding availability in both a 12″ and a CD limited to 500 copies, of which the first 100 came with a bonus DVD-R of material. Other than that and “Now and Forever” here, the only other existing official Syndrome release is a three-way split with Monotonos and Sequences entitled “Fall of Man”. Outside of Syndrome, Vandekerckhove is otherwise known for his work as guitarist for sludge doom bands Kingdom and, more importantly, Amenra whom found a decisive home in Neurot Recordings a year ago. Unfortunately it seems that, despite a promised release of the new studio album “Mass V” a few months after signing, nothing has yet been unleashed. This slow pace on Neurot may be what has freed Vandekerckhove to pursue his solo project in such depth, and that depth has found him constructing a one-track, 28 minute opus in dedication to his son, Wolf, for this release. What few words are present here exist as a guiding light for his son towards finding himself, finding strength, helping others, and knowing no matter how distant the expanse, be it physical or ethereal, his father is there in spirit. It’s an intimate portrait of the proverbial handing of the torch in blood, primal if not tribal in spirit. A tribal nature is in fact how this album opens, with a subtle light percussive notion — the only place on the entire album where you’ll find any hint of bombast behind the epic, weaving feedback drones that shimmer harmoniously before washing away in tides of a deeper, less tenuous drone that is textured lightly by gentle noise and guitar tones. These moments will eventually give way to the heart of the track that contains the lyrical content and the most desolate production within the release to give space for the vocals to express their stern, yet inert fragility. The deep performance here, both literally and emotionally, immediately reminds of efforts from several artists including Steve von Till and later Ulver, and whose building ethereal guitar nature is uncannily reminiscent of the gut-wrenching dreamy style that Love Spirals Downwards once achieved. Other than the obvious emotions associated with succeeding at bringing a child into this world, there has to be something incredibly special on an entirely different, subconscious level about implementing those emotions into a dedication through music. It was a decade ago, this year, that Green Carnation released their acclaimed “Light of Day, Day of Darkness” album which was inspired by, at least in part, by the birth of Tchort’s son and the death of his daughter. Obviously there is a greater sense of melancholy in that record, but there is a very distinct yet undefinable emotion that accompanied that album — an emotion that is also present in full force here. It certainly isn’t melancholy, but it is reserved all the same — focused and incontrovertibly sincere. That said, it’s difficult to place the particular portion of the painting by Matthieu Ronsse, “Bateau”, that as used as the album cover, in regards to it’s significance to the subject matter at hand. It certainly fits in with the ethereal music of “Now and Forever”, and there are certainly ties in sound to the sea, but it is certainly cryptic at best in relation. The figure pictured has a ship’s flags linked to the inside corners of the eyes, almost representing tears, while the sail itself covers the mouth. The ship itself is on fire. There are many obvious lines of thought, but they seem to contradict one another once their paths cross. Perhaps this is an explanation best saved for another article at another time. Regardless of the cryptic artwork though, it’s hard to imagine an album of this style achieving a level of perfection that rises above this. There’s simply such an incredible amount of intensity, love, and musical prowess at work in “Now and Forever” to find any kind of negative attributes within." [Sage/Heathen Harvest]	2013	€20.50
SZCZEPANIK, NICHOLAS & JUAN JOSE CALARCO	Lack Affix	CD	"Lack affix isn’t so much about one particular location as it is an homage to the memories of the places we can’t vividly remember. This is about the imagery conjured when certain senses are triggered. It’s about our mind’s recreations of memories past; at once familiar, but also different in some inexplicable way. (Nicholas Szczepanik) Washington DC - Since a couple of years I’ve been living in different areas very far from the centre of the city and for Lack Affix I tried to capture this particular feeling I used to get during the nights by the time I lived at the most overcrowded districts; those extremely distant-blurred sounds of night activities as trucks delivering boxes, police helicopters, construction sites working on full hours, gas stations filled with taxis coming and going but mostly that undefinable, abyssal texture of a huge city at very late hours. As Nicholas was sending me his re-works on my raw stuff and his own recordings for me to work on, we went more into this direction. So, I focused even more on recordings from the same streets and specially from terraces and inside subway entrances to reconstruct the sounds as I used to hear them those times ago; hopefully, even to recover some peaceful sensation I’ve never felt again so far, no idea if related with the dulling sound of those crowded districts or not. (Juan José Calarco) Buenos Aires, Argentina" [label / website info] www.unfathomless.net "The third release in the Unfathomless series is a duo release of two artists bringing sounds to the table from their own places. Nicolas Szczepanik from Washington and one Juan Jose Calarco from Buenos Aires. They traded these sounds and then started to work on processing these. This resulted in the three pieces on this CD. Its hard to recognize the busy urban life in these pieces. Just as much as you would guess, this could also be the sounds from a small village. Unless of course they stuck out their microphones in the middle of the night, picking up the remains of the day and the birds of the night. Occasionally they work towards a crescendo, but even then its not easy to spot the city. Not that I care about this, I must say. They come up with music that has a lot to imagine about. Great field recordings, and great processing of the sounds. They do an excellent job, mixing all of this together, with great clarity and lots of detail. The sound bounces all over the dynamic spectrum. If you like say Francisco Lopez, then you're bound to like this too. Highly refined soundscapes." [FdW/Vital Weekly]	2010	€14.00
TAGC (THE ANTI GROUP)	Iso-Erotic Calibration	CD	artists music merch video community Iso-Erotic Calibration (CSR343CD/LP) by T.A.G.C. Wishlist supported by atmcgibbon thumbnail atmcgibbon This is a stunning bridge between the industrial sounds I listened to in the '80s and other Eno-esque "music without a chorus and verse". They have put together great audio textures and brought in percussion on some tracks without burying the subtle electronic nuances. Smart music that stands the test of time! Favorite track: Psychophonophilia. Satanic Plastic thumbnail DarkDom thumbnail Mark van de Steeg thumbnail Cycom thumbnail Dex Anderson thumbnail sammarion thumbnail svens242 thumbnail awrc thumbnail travis.daedalus thumbnail Andres Rivas (Assertive Discipline) thumbnail kpatt thumbnail Project_Nightwolf thumbnail theriddleofclouds thumbnail IAN GILL thumbnail screechingjaybobbins thumbnail SoundAndVision thumbnail alessandro vaccaro thumbnail ejharnish thumbnail zzoneman thumbnail SubsistenceIsFutile thumbnail HenGeoKoh thumbnail Moritz Cordes thumbnail music4metrostations thumbnail blackwoofer thumbnail lejeune thumbnail Jim Jarmo thumbnail idtheft thumbnail Betty Koster thumbnail a1a1a1a1a1a1a thumbnail 400 Lonely Things thumbnail joelimbus thumbnail club_debil thumbnail Pod Farlow thumbnail Mister G thumbnail pH1 thumbnail ilnoia thumbnail Luciano Civitarese thumbnail kickingmachine thumbnail ernie23 thumbnail Doc Savage thumbnail Thomas Thomas thumbnail Martijn Jansen thumbnail Dave Barker thumbnail ea thumbnail Laing Reeder thumbnail DreamMachine thumbnail Chris Fox thumbnail baufive thumbnail obi1r thumbnail Mediapathic Steen thumbnail Zlatko Zlaya Zgombic thumbnail Ryan Friedrich thumbnail Steven Reynolds thumbnail Green thumbnail Sandro De Frino thumbnail Carsten Bolte thumbnail Bruce Levenstein thumbnail snitlobastnev thumbnail Gregory Skov thumbnail osSSya thumbnail more... Iso-Erotic Calibration 00:00 / 06:53 Record/Vinyl + Digital Album package image Ltd 300 x Brown LP on 180gm heavyweight vinyl in a matt-laminate sleeve. Includes unlimited streaming of Iso-Erotic Calibration (CSR343CD/LP) via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. Download available in 16-bit/44.1kHz. ships out within 7 days £23.99 GBP or more Record/Vinyl + Digital Album package image Black LP on 180gm heavyweight vinyl in a matt-laminate sleeve. Includes unlimited streaming of Iso-Erotic Calibration (CSR343CD/LP) via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. Download available in 16-bit/44.1kHz. ships out within 7 days £21.99 GBP or more Compact Disc (CD) + Digital Album package image CD in matt-laminate 6-panel digipak. Includes unlimited streaming of Iso-Erotic Calibration (CSR343CD/LP) via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. Download available in 16-bit/44.1kHz. ships out within 7 days £11.99 GBP or more Streaming + Download Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. Download available in 16-bit/44.1kHz. £6.99 GBP or more 1. Iso-Erotic Calibration 06:53 2. Union With Sirens 08:12 3. Mercurius 04:51 4. Annals Of Sancity 04:57 5. Nuerological Engineering 07:36 6. Psychophonophilia 07:20 7. Ethemeral 05:24 8. Iso-Erotic Calibration (After Glow Mix) 06:57 9. Adonne 10:57 10. Phantom Frequencies 08:18 11. Hommage Dr Jekyll Et Les Femmes 06:50 about Carefully constructed aural rituals from T.A.G.C., this album maps new realms in the area of sensual electronic music. Founder Adi Newton (Clock DVA) uses The Anti Group as an outlet for his research in psycho-acoustic music. "Iso-Erotic Calibration" explores the potent topic of human sexuality. Recorded over a period of three years, this could be considered on of their more "accessible" albums. Originally released in 1994 (Side Effects, the label of Lustmord, Musica Maxima Magnetica, and Adi's own Anterior Research Recordings), we are proud to present the album for the first time on vinyl, as well as the first official CD reissue, fleshed out with four bonus tracks: two were bonus digital-only tracks (2013); one track is taken from the soundtrack to the 2011 T.A.G.C. film 'Given'; one is a remix of the title track. The Anti Group Communications (T.A.G.C.) was devised by Adi Newton and Steven James Turner as early as 1978 as a multi-dimensional research & development project. TAGC are not affiliated to any one system of philosophy or epistemological paradigm or occult fraternity but are open more to individual systems and innovative thinkers Science, Art, Music Sonology, Visual Arts, Literature, Research & Publication are its main areas. The artwork is filled with text and illustrations supporting the different songs. • CD in 6-panel matt-laminate digipak. • Black LP on 180gm heavyweight vinyl in a matt-laminate sleeve. • Ltd 300 x Brown LP on 180gm heavyweight vinyl in a matt-laminate sleeve. credits released January 17, 2025 All compositions and production by Adi Newton, 1994. All tracks from original DAT masters recorded in Florence, Italy, 1993, at the Anterior Research Station. Iso-Erotic Calibration originally released by Anterior Research Recordings (ARR 003), Musica Maxima Magnetica (eee 20) and Side Effects (DFX 21). Bonus CD tracks: Track 8: remix Track 9: from the soundtrack to the TAGC film 'Given' (2011). Track 10 & 11: from the digital-only edition (2013) Carefully constructed aural rituals from T.A.G.C., this album maps new realms in the area of sensual electronic music. Founder Adi Newton (Clock DVA) uses The Anti Group as an outlet for his research in psycho-acoustic music. "Iso-Erotic Calibration" explores the potent topic of human sexuality. Recorded over a period of three years, this could be considered on of their more "accessible" albums. Originally released in 1994 (Side Effects, the label of Lustmord, Musica Maxima Magnetica, and Adi's own Anterior Research Recordings), we are proud to present the album for the first time on vinyl, as well as the first official CD reissue, fleshed out with four bonus tracks: two were bonus digital-only tracks (2013); one track is taken from the soundtrack to the 2011 T.A.G.C. film 'Given'; one is a remix of the title track. The Anti Group Communications (T.A.G.C.) was devised by Adi Newton and Steven James Turner as early as 1978 as a multi-dimensional research & development project. TAGC are not affiliated to any one system of philosophy or epistemological paradigm or occult fraternity but are open more to individual systems and innovative thinkers Science, Art, Music Sonology, Visual Arts, Literature, Research & Publication are its main areas. The artwork is filled with text and illustrations supporting the different songs. https://coldspring.bandcamp.com/album/iso-erotic-calibration-csr343cd-lp	2025	€15.00
TAPE	Milieu plus	CD	"Nach OPERA (Häpna 9) das zweite Album für das schwedische Trio um ANDREAS BERTHLING. Zeitlose schöne, handgespielte Instrumental-Musik, entspannend & introvertiert & positive Vibrationen erzeugend.... gezupte Gitarren, Melodica, Akkordeon, Orgal, Harmonium, Vibraphone, mit einzelnen zarten geräuschhaften Zwischenparts....wie ein Nachmittagsspaziergang in lauer Herbst-Sonne..." [Drone Rec. info 2003] "Tape is a trio from Stockholm, Sweden, building their music from a whole array of acoustic instruments, computer and field recordings. Their first CD "Opera" got excellent reviews in international press and was compared to artists such as Talk Talk, Gastr del Sol, Fennesz, John Fahey and Faust. Their new CD "Milieu" shares the same basic premises as "Opera". All kinds of sound sources are used and organically integrated in the songs, which move freely somewhere between the composed and the improvised. Even if "Milieu" makes use of experimental methods, the album are argumentably more songbased than "Opera" and therefore maybe more accessible." [original label description] www.hapna.com	2008	€14.00
TARKATAK	I II III IIII	CD	Die 4 Titel auf / // /// //// sind in ihrem Ursprung auf Reisen entstanden, an unterschiedlichen Orten oder auf dem Weg. Dann weitergeführt in unterschiedlichen Situationen an diesem festen Ort hier bis sie eine endgültige Form angenommen haben, die sich aber erst nach vielen Stimmungsschwankungen gefunden hat. Ein manchmal langer Weg dessen Resultat nur aus der Stimmung entscheidet, die die Musik in diesem Moment entgegenbringt. Tarkatak Ende 1981 war der Anfang: Punk und die Kassettenszene machten alles möglich. Unter dem Namen „Der Pilz“ erschienen die Geräusch-Collagen aus selbst geschnittenen Tonband-Loops und Kassetten-Overdubs. Das Harsche blieb bei „Der Pilz“, das Ruhige wurde zu „Tarkatak“, mit der ersten Kassette „slow“ (1999). Die Quellen und Wege blieben gleich (hören, sammeln, schneiden, unkenntlich machen), das Medium wurde Digital, obwohl es oft noch immer nach Kassette rauscht. Und immer wieder geht es tief in das dunkle, zähe Unbekannte – um sich dann vom Klang irgendwo erfüllt und umschlossen zu verlieren. Neben zwei Kassetten, einer LP, div. 7“s bei Drone Rec. (z.T.Features mit Klangwart und Deep), CD/Rs (u. a. zusammen mit Anemone Tube und Florian Filsinger) und ein bisschen Digitales, gab es Konzerte oder Live-Kollaborationen mit Troum, A Thousand Vows, Melt Banana, Christina Kubisch, Kapotte Muziek, EA 80 etc." https://aufabwegen.bandcamp.com/album/i-ii-iii-iiii "You could think that is a label that hands me two new CDs, and one of these is new work by Asmus Tietchens, that would be the one first to hear. But a new CD by Tarkatak! Hold on. I can't remember I last heard or reviewed his music. I have known the musical project from Lutz Pruditsch since he started it in 1992. Before that, he had a cruder, industrial act, Der Pilz. As Tarkatak, he plunges into the world of ambient and industrial. 'I II III IIII" is his first release since the 2007 release 'Mormor' (not reviewed). There are four long pieces on this CD: ' I', 'II', etc. The pieces are from 2011, 2012, 2015 and 2017/2021. I have no idea what kind of instruments Tarkatak uses; only the piano is recognizable in 'IIII'. Otherwise, I think he uses electronics, effects, guitars, synthesizers and such. There is a robust drone approach in these pieces, of slowed-down tapes and rusty sounds, slowly evolving. With pieces between thirteen and twenty minutes, there is enough time to let them grow and develop naturally. This works best in the longest of the four pieces, 'II'. Tones arrive from nowhere, make a few slow and majestic moves and then disappear, replaced by new ones. The resulting music is dark, atmospheric and ambient. It ticks all the right boxes for me; I have been a fan since the early days, even when I am ashamed to say I haven't played many in recent years. Oddly enough, the one that didn't work well for me was 'IIII', with the piano sounds. Whereas the other was akin to amorphous clouds, the musical element of the piano, slightly unorganized, banging out slow tones against a drone background, became after a while a bit boring. But a good hour of great music has passed by then, so nothing to complain about. Let's hope we don't wait another fifteen years for the next album." [FdW / Vital Weekly] " „I II III IIII“ ist das erste neue Album von Tarkatak seit dem 2007 erschienen Album „Mormor“ auf Genesungswerk. Ende 2021 erschien ein starker Track auf einer Compilation. Die hier enthaltenen Aufnahmen entstanden zwischen den Jahren 2011 und 2021, geremixed wurden sie im Frühjahr 2021. Lutz Pruditsch, dessen Werk in den 80ern/90ern als Der Pilz stark von der Industrial Culture beeinflusst war und der das kleine Label Trümmer Kassetten betrieb, macht als Tarkatak eine ziemlich variantenreiche Musik, die sich im Drone verorten lässt. Konzipiert während des Reisens und Unterwegsseins, bekommt man vier lange Tracks, die sich fortwährend entwickeln: So kommen auf “I” im Laufe der 16 Minuten zu dem in der Ferne anschwellenden Drone immer weitere Elemente hinzu, die sich nach und nach verdichten. Das ist eine sich langsam entwickelnde, aus zahlreichen Schichten bestehende Musik: Zwischendurch wird man an eine Sirene erinnert, Dissonanzen tauchen auf, es pulsiert, brummt und irritiert (und das ist durchaus positiv zu verstehen). “II” wirkt anfangs von der Stimmung wesentlich positiver, weniger dunkel. Man kann sich diesen weitgehend sehr melodischen Track zur Untermalung eines Sonnenaufgangs vorstellen. In der Ferne erklingen Pianotöne, die verhallen, im Rauschen gerade noch erahnbar sind. Dann glaubt man, Wellen schlügen gegen das Ufer, dann setzen dunkle, unheilschwangere Drones ein, um dann am Ende doch hoffnungsvoll zu enden. “III” ist wesentlich reduzierter, beginnt fast unhörbar, dann kommen seltsam-melodische Passagen dazu. Dem Track haftet ein Moment des Mysteriösen an, bevor der Rest Schweigen ist. Der das Album abschließende Track “IIII” beginnt dunkel, tastend, dann kommen Klavierpassagen dazu, die wesentlich dominanter als zuvor sind. Diese vier langen, organisch wirkenden Tracks loten aus, was der Drone alles kann. Sehr schöne, auf 200 Exemplare limitierte Veröffentlichung mit einem zum Poster ausfaltbaren Siebdruckcover." [MG / African Paper] "An edition of 200 copies only in silk-screened hand numbered poster-cover sounds nice and lovely but is in fact a bit unhandy, the poster folds out to more of the organic structure in bronze / brown / black. Thankfully a regular booklet is included here so at least some basic infos can be gained from the artwork. Tarkatak is actually no new name to me, it's a project by Lutz Prueditsch (who was active as Der Pilz, run his experimental tape label Trümmer Cassetten and later Dachstuhl a.o. activities) I've listened to in awe years ago already when his album 'Mormor' appeared on the much missed Genesungswerk label, in a cardboard box with a CD on felt. Ambient drones for the thinking man or something like that I wrote back then. At least back then he gave the tracks some titles but for this collection, recorded between 2011 and 2021 and finally mastered in 2021 even those have left and the tracks are titled as the release, just four numbered sections. Well, freedom of speech, association or of thought or both this is. The most recognizable instrument used here in small doses is a piano, spreading a few melodic highlights throughout these organic drones, built from field recordings and found but altered sounds and voices. Reworked over and over again the continuos movement and the flow hardly ever stops until everything is dissolving. The mood is shifting from brooding to wallowing in various stages of post-romantisicm not completely unlike contemporaries Troum (f.e. with 'Mare Morphosis'). Maybe also reflection of a period of travels and changes in the artists life. A pleasure to listen to. Dreamy Movements in a deep wakefulness sleep." [CHAIN D.L.K.]	2022	€13.00
TAZARTES, GHEDALIA & MAYA DUNIETZ	Schulevy Maker	LP	"Holotype Editions was founded as a means of bringing out music by some of the most unique and peculiar artists of the last decades. What could be more fitting for the imprint’s seventh release, than the duo of cult artist Ghédalia Tazartès and multi-instrumentalist, composer and singer Maya Dunietz. Recorded live at Cafe Oto, in December 2013, Schulevy Maker documents the duo’s first live appearance. An amalgam of bizarre samples, concrete sounds, live piano and bells, juxtaposed with the otherworldly voices of Dunietz and Tazartès. At times light and humorous, at others dark and ritualistic, Schulevy Maker can hardly be labeled or tagged. The album title refers to Shoemaker-Levy 9, a disrupted comet that collided with Jupiter in July 1994. Tazartès and Dunietz freely reassembled the syllables of the comet’s name, coming up with this obscure title. A truly life-affirming record, by two artists defying categorization, Schulevy Maker comes in a limited edition of 300 copies, pressed on black vinyl with a beautiful cover designed by We Are Still Bold and Beautiful. Recorded live at Cafe Oto, London - December 2nd, 2013 by James Dunn. Mixed by Daniel Meir. Mastered by Nikos Lavdas at Kiwi, Athens, 2017.	2017	€16.00
TBC	Insecta: The Birth of Gods	CD	"This is the debut full-length CD by Thomas Beck solo project - raw and noisy soundscape inspired by the kind of the modern mythology, showing his perfect skills in uncommon treatment of synthetic sounds, samples and field recordings, after numerous small run works, different collaborations with other artists and other activity. Release date is 10th June 2012. Limited edition of 500 copies in jewelcase." www.monochromevision.ru "The Russian label Monochrome Vision brings since 2004 music from classics of experimental electronic music world, such as Le Syndicat, Francisco Lopez, Asmus Tit Chen, Freiband and Arcane Device. TBC and Coloured Water Well take care of the last two releases. TBC is a project of the German Thomas Beck. Since the 80s he has been active and started in the tape and international mail art network. He made radio, runs a DIY label, created a meeting for musicians and mail-music projects with Brume, and Das Synthetic Mischgewebe. And for now he releases his first full-length solo album. In four songs he takes us in his electronic world where minimal noise slowly changed into a white noise. In that the sound does not change, but due to the slow development. By the subtlety of the noise, which originates by sounds of nature and by samplers and synthesizers, the noise is not overwhelming. The Birth of God: Insecta is a wonderful album and an ode to the noise that nature knows it." [JKH/Vital WEekly]	2012	€12.00
TEFITON (VAN BEBBER, CLAUS / ERHART HIRT)	Tefiton	LP	"tefiton features over 40 minutes of thickly layered and at places elegantly slick noise textures generated from electronics, feedback and turntable. tefiton features ulrich krieger (zeitkratzer, sonic youth collaborator) on saxophone on one track. the overall sound shifts between almost classical improv and abrasive moments more known from the field of noise music. claus van bebber (turntables) has been a founding member of the artist collective heinrich mucken (1982-1990) and as a sound artists has collaborated with erhard hirt, paul hubweber, philip jeck, helmut lemke, michael vorfeld and more. erhard hirt (guitar + live electronics) works since the 1970ies as a musician and promoter/curator in the field of improvised and experimental music and collaborated with derek bailey, stephan wittwer, davey williams, eugene chadbourne, hans reichel and many more." [label descriptions] label: www.aufabwegen.de	2005	€13.00
TEGH	Unusual Path	LP	“Unusual Path” is a nearly 20minutes long track, that builds up slowly, layer by layer, sound by sound. It´s electronic music with a very warm analogue feeling, that constitutes the sound of Tegh. Pliable noises and piercing drones create an epic soundstory, complemented by field recordings. Tegh focusses on just one track, to tell a story about an “Unusual Path” and the listener is invited to create her/his own story. PHYSICAL RELEASE: www.midirarecords.com/product/md-045teghunusual-path/ credits released May 31, 2019 Remixes by Siavash Amini (Iran) and Zenjungle (Greece). Amini and Entezami are also a part of the Iranian experimental music scene “SET”, that gives artists a chance to present their music in Tehran. The remixes create a very own aura: Amini stripped down the track to a minimal ambient track with a twist and Zenjungle transformed the track into a dark jazz drone. “Unusual Path” got mastered for vinyl by Antonio Gallucci (Architeuthis Rex). https://midirarecords.bandcamp.com/album/unusual-path	2019	€23.00
TEHOM	Lacrimae Mundi - remixed	CD	A Reawakening of the Abyss More than a decade after the seminal release of Lacrimae Mundi, Croatian ritual ambient pioneer TeHÔM returns with Lacrimae Mundi Remixed, a transcendent new offering that gathers together the crème de la crème of the dark ambient, ritual, and post-industrial realms. Nine acclaimed artists have reinterpreted TeHÔM’s esoteric soundscapes, each reshaping its primordial textures through their own distinctive sonic language. They collectively conjure an entirely new ritual experience, a deep cinematic meditation on darkness, memory, and transcendence. With meticulous attention to sound range and sublevel frequency, this album expands TeHÔM’s original vision into a broader, more immersive field, an audial labyrinth both sacred and abyssal. Each contribution forms a unique node in a collective eschatological experience, powerful enough to dissolve the listener’s boundaries and usher the mind toward stillness and erasure. In an era where technology tempts humanity to forget its origins, "Lacrimae Mundi Remixed" stands as a testament to remembrance, a sonic scripture chronicling the eternal search for truth and the divine self. Its textures evoke visions of ancient temples and cosmic architectures where secret wisdom slumbers. Time here is neither linear nor fixed. Within the illusion of Māyā, the dream within the dream, the album reveals Lacrimae Theos, the tears of the divine echoing through eternity. Following the visionary visual design of the original edition by Dehn Sora, this new release features a new artwork by Nieuw NDG, complementing the music’s metaphysical depth with renewed elegance and symbolism. CD Edition of 300 copies in 4 panel Digipak. 9 Tracks. Running Time 56:03 cycliclaw.bandcamp.com/album/lacrimae-mundi-remixed	2025	€14.00
TEMPLE OF TIERMES	Gandharva Constellation	CD	"Industrial Recollections presents definite release of piece of obscure Finnish ritual-noise history. Back in 1995, Jarkko Toivonen (of cult black-doom band Unholy) and Mikko A (Grunt) was living in same city, and collaborated with session of difficult and painful experimental recordings. At first some of these very first recordings of TEMPLE OF TIERMES was privately distributed. Home dubbed tapes without covers, given to handful of people. In late 90's half of the material was issued as tape limited to 28 copies. Finally 25 years after original recording sessions, long lost original master tape was discovered, with full recording session and Industrial Recollections makes it available for the first time. Roaring noise, eccentric guitar works, human skull percussions and piercing feedback all blend into unique mix of experiments of two different kind of artists. Presented in stylish digipak." https://www.nhfastore.net/index.php?route=product/product&product_id=11541	2020	€12.50
TERVAHÄÄT	Taival	CD	"Taival continues on the paths and narrow roads through Finnish forests to further explore the rustic and mystical sounds and visions of Tervahäät. Seven tracks of ritualistic folk & neofolk are inspired by rural surroundings, spiritual unity, and a sincere interest in the native land and its entities — trees, animals, and the spirit of the ancestors. The fourth album of Tervahäät brings also some surprisingly warm winds from the icy north-west, but the warmth also carries a slight smell of decaying bones and suspicioulsy friendly whispers from old ghosts." [label info] www.animaarctica.fi "I have spoken to many people about their taste in music. Several of them can pinpoint a defining moment that triggered their now eclectic taste, which has led them along the path of musical freedom. I, personally, keep very limited and musically specific company, but for me it’s a very simple and nostalgic memory. Have you ever had one of those evenings where you find yourself looking at film after film on YouTube? You go from band-to-band and genre-to-genre, and you stumble across some amazing, bizarre, and down-right amateur videos. That particular nostalgic night, I stumbled across a man playing a Finnish instrument called the ‘kantele’. I was amazed at how simple the instrument looked and yet how sweet the tone is. The first one I heard was a five-string, and the YouTube trail quickly brought me to a ten-string. Before I knew it, I had placed an order for a five-string kantele to be made in the United States. This epiphany of sorts found me entrenched in the culture of Finland, whilst playing its national instrument. This immersion in Finnish culture—now six years on—has not deteriorated; if anything, it has intensified. From the stories of the Kalevala, Vainamoinen, and the mythical Kantele he constructed from a pike’s jaw-bone, to the vast landscapes full of lakes, forests, and elks, and the pre-Lutheran religious customs and practices that were once the Pagan folklore of the land… It’s quite possibly the polar-opposite, natural elements of my homeland that fuels my fascination. Tervahäät When my editor told me to ‘light a fire’ underneath the Tervahäät review, I detected a Finnish scent on the name. Further examination of the cover and notes brought about the jubilation and motivation required to get that ‘fire’ going. Many no doubt know that Finland is renowned for great music. Being a folk metal junkie, there isn’t much that comes out of Finland that I don’t like or haven’t seen live, even here in Australia. Having predominantly covered folk and neofolk to date with the Heathen Harvest Periodical, it was a much-anticipated listen. The polar opposite landscapes of which I previously spoke are significant. We have huge deserts, dried-up lakes, and a bevy of poisonous reptiles to keep your trekking interesting. I played Taival in my car on a four-hour drive across the plains of South Australia. My research on the band’s name, Tervahäät, loosely translates to ‘Tar Wedding’. Quite auspicious given that my initial listen is being done on the open road! The album’s name, Taival, loosely translates to ‘Journey on foot’. As we say in Australia, ‘bugger that’—there are too many snakes out at this time of year. The opening song, ‘Kärrinpyörä’, begins with guitar strumming reminiscent to the intro of a Western film scene. The harsh and drawn-out vocals accompany a simple melody being looped in the background. Harsh vocals are usually associated with heavier music but there is elocution with these, which really hold your interest. The surroundings in the early stage of my journey are arid and harsh. Dry farms and wrecked cars are a common sight. The previous suggestion of Western theme has much more credence (to my present situation). The chorus keeps returning and after a while I find myself singing and humming it in a familiar way. ‘Kevätkirot’ begins with a more melodic approach that fins the vocals taking a 180-degree turn wherein Riimu showcases his vocal ability. His voice wouldn’t sound out-of-place belting out Russia’s national anthem or one of Ivan Rebroff’s classics. These haunting tones are hypnotizing. They captivate me to the extent that I needed to know more about the lyrics. Not verbatim, but in Riimu’s words, the song reflects a particular mood: A time in early depression, or that bleakest time in spring and utter loneliness. The outro of the track has a dreamy presence and plays a haunting sound whose origins would point to a wind instrument. The album isn’t short of effects, and as ‘Tuomiolaulu’ begins, the presence of reverb gives the song an enchanting sound. Again the song is driven by powerful vocals; the music passages are superfluous to them but accompany the style. Have I mentioned that the album has an occasional Western theme? The use of Banjo on ‘Koulutie’ reaffirms this theory. The previous description of Finland’s landscape casts a rural description which gives credence to my suggested theme. It then dawns on me that this album draws inspiration from the transition of seasons—the personal reflections and mood changes that occur within all beings and in the case of this album, the artists. The song ‘Taival’—also the album’s namesake—ends the seven-track recording. A synthesizer and eclectic but simple percussive beat accompanies the consistently haunting vocals. I listened to this one a few times over. With each listen I hear a new overtone in the background. Like the recording was being infiltrated by ghosts or spirits from the ancient land or another world. One in particular sounds like a Tuvan throat singer. It adds a mystique that’s hard to quantify in words. It still sends a quiver of eeriness over my body with each listen. Musically simple, vocally diverse, and lyrically reflective are appropriate word associations for Taival. It’s been a while since I have heard anything like this, and I want to explore this style a lot more. I have myself in recent times been meditating to this record; the music works with me like a spiritual guide to the Suomi landscape that I’m yet to visit. Its place as driving music wasn’t limited to that one encounter. The CD hasn’t left my stacker. The artists are clearly emotionally entrenched in their music. It comes across as from the heart; it comes across with honesty, and it works." [Malachy O'Brien / Heathen Harvest]	2014	€13.00
TEST DEPARTMENT / TEST DEPT.	Disturbance	LP	In an ideal world, Disturbance, the new album from industrial pioneers Test Dept, would not exist. It wouldn’t need to. Britain would not stand divided by xenophobia. Working class communities would not be under siege. Capitalism would not have created a climate change crisis pushing the planet towards a dangerous brink. And the Thatcherite ideals that Graham Cunnington and Paul Jamrozy spent Test Dept’s early years raging against would not be so terrifyingly back in political vogue. Back in1981, Cunnington, Jamrozy and a revolving door of talented artists from disparate disciplines and backgrounds formed Test Dept, forging an incendiary new sound from a squat in New Cross that made them underground heroes, landing the group under surveillance by the British government. 37 years later, on Disturbance, that sound is as incendiary as ever. “It began with a project to do with our archive,” recalls Cunnington. It was the early 2010s and Test Dept had been dormant for years. The pair wanted to sort through Test Dept’s old recordings to “re-establish our history and get our music out there again” after record label red tape left many of their 14 albums out of print. When attention turned to the “next logical step of a new album”, an idea emerged – taking germs of ideas from old songs and turning them into new, sledgehammer-heavy sonic experiments full of powerful protest poetry. Politics had come full circle. It felt fitting to do the same with their music. The result is an album that at once peers into the past and roars into the future, across eight tracks that conjure the raw power of Test Dept in their original, 1980s incarnation while adding new elements. “We’re different people now – not spring chickens anymore,” laughs Jamrozy. “We’re still angry but it’s tempered by a slightly different wisdom. We tried to upgrade the sound, to soup things up further.” “Art is not a mirror to reflect reality, but a hammer to shape it,” the poet and playwright Bertolt Brecht once wrote. It’s a mantra that continues to drive Test Dept. who return to their past on this eviscerating new album in order to move into a bold new future. They hope Disturbance can soundtrack a society doing the same. music merch Disturbance by Test Dept Wishlist supported by dauvit thumbnail dauvit Test Dept. have always sounded like Test Dept. and nobody else sounds like Test Dept. Another fantastic release. jvvoda thumbnail jvvoda Not a case of sentimental cash-out reunion call, quite the opposite. This record will keep you pushed to the edge of your comfort zone, and true to the title, it will leave you disturbed - in the best possible way - as a wake up call from your apathy and ignorance back to action. mipsen thumbnail mipsen What a great interpretation of my favorite track of the "Unacceptable Face of Freedom"! The whole album is extremely recommended! Favorite track: Gatekeeper. R5N thumbnail R5N Just a fucking brilliant album. 🤘Glad to see such a great return. Bryon Wilson thumbnail Bryon Wilson Love the album! I honestly can’t say what my favorite track is. I keep listening to the entire thing straight through. Great work. Synthonic thumbnail Synthonic You don`t listen to Test Dept, you feel them. If you have a heart, that is. 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Landlord 00:00 / 04:41 Streaming + Download Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. £5.99 GBP or more Record/Vinyl + Digital Album package image package image Single black vinyl in gatefold sleeve with artwork designed by David Altweger Includes unlimited streaming of Disturbance via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. ships out within 3 days £17.99 GBP or more Compact Disc (CD) + Digital Album package image CD in 6 panel digipack with artwork designed by David Altweger Includes unlimited streaming of Disturbance via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. ships out within 3 days £8.99 GBP or more 1. Speak Truth To Power 06:21 2. Landlord 04:41 3. Debris 04:33 4. Full Spectrum Dominance 07:27 5. Information Scare 04:50 6. Gatekeeper 05:32 7. GBH84 04:21 8. Two Flames Burn 07:53 about In an ideal world, Disturbance, the new album from industrial pioneers Test Dept, would not exist. It wouldn’t need to. Britain would not stand divided by xenophobia. Working class communities would not be under siege. Capitalism would not have created a climate change crisis pushing the planet towards a dangerous brink. And the Thatcherite ideals that Graham Cunnington and Paul Jamrozy spent Test Dept’s early years raging against would not be so terrifyingly back in political vogue. Back in1981, Cunnington, Jamrozy and a revolving door of talented artists from disparate disciplines and backgrounds formed Test Dept, forging an incendiary new sound from a squat in New Cross that made them underground heroes, landing the group under surveillance by the British government. 37 years later, on Disturbance, that sound is as incendiary as ever. “It began with a project to do with our archive,” recalls Cunnington. It was the early 2010s and Test Dept had been dormant for years. The pair wanted to sort through Test Dept’s old recordings to “re-establish our history and get our music out there again” after record label red tape left many of their 14 albums out of print. When attention turned to the “next logical step of a new album”, an idea emerged – taking germs of ideas from old songs and turning them into new, sledgehammer-heavy sonic experiments full of powerful protest poetry. Politics had come full circle. It felt fitting to do the same with their music. The result is an album that at once peers into the past and roars into the future, across eight tracks that conjure the raw power of Test Dept in their original, 1980s incarnation while adding new elements. “We’re different people now – not spring chickens anymore,” laughs Jamrozy. “We’re still angry but it’s tempered by a slightly different wisdom. We tried to upgrade the sound, to soup things up further.” “Art is not a mirror to reflect reality, but a hammer to shape it,” the poet and playwright Bertolt Brecht once wrote. It’s a mantra that continues to drive Test Dept. who return to their past on this eviscerating new album in order to move into a bold new future. They hope Disturbance can soundtrack a society doing the same. credits released March 1, 2019 Graham Cunnington - Percussion, Electronics, Vocals Paul Jamrozy - Percussion, Electronics, Vocals Zel Kaute - Drums Lottie Lou - Electronics, Live Sound David Altweger - Visual Director Rob Lewis - Additional Drums Ashley Davies - Bass / Percussion Laura Thompson - Additional Vocals on 'Gatekeeper' Roz Corrigan - Piano on 'Debris' Michelle Outram - Cello on 'Truth' Jordi Blanchar & Ilenia Bombardi - Additional Vocals Recorded: Flesh & Bone Studios, Hackney The Shed, Nunhead Mixed & Produced: The Shed Engineered: Lottie Lou Mastered: Giovanni Versari at La Maestra Mastering, Tredozio (FC) GBH84 Is dedicated to The Orgreave Truth & Justice Campaign Artwork by David Altweger Photos by Michael Kötter	2019	€20.00
	Disturbance	CD	In an ideal world, Disturbance, the new album from industrial pioneers Test Dept, would not exist. It wouldn’t need to. Britain would not stand divided by xenophobia. Working class communities would not be under siege. Capitalism would not have created a climate change crisis pushing the planet towards a dangerous brink. And the Thatcherite ideals that Graham Cunnington and Paul Jamrozy spent Test Dept’s early years raging against would not be so terrifyingly back in political vogue. Back in1981, Cunnington, Jamrozy and a revolving door of talented artists from disparate disciplines and backgrounds formed Test Dept, forging an incendiary new sound from a squat in New Cross that made them underground heroes, landing the group under surveillance by the British government. 37 years later, on Disturbance, that sound is as incendiary as ever. “It began with a project to do with our archive,” recalls Cunnington. It was the early 2010s and Test Dept had been dormant for years. The pair wanted to sort through Test Dept’s old recordings to “re-establish our history and get our music out there again” after record label red tape left many of their 14 albums out of print. When attention turned to the “next logical step of a new album”, an idea emerged – taking germs of ideas from old songs and turning them into new, sledgehammer-heavy sonic experiments full of powerful protest poetry. Politics had come full circle. It felt fitting to do the same with their music. The result is an album that at once peers into the past and roars into the future, across eight tracks that conjure the raw power of Test Dept in their original, 1980s incarnation while adding new elements. “We’re different people now – not spring chickens anymore,” laughs Jamrozy. “We’re still angry but it’s tempered by a slightly different wisdom. We tried to upgrade the sound, to soup things up further.” “Art is not a mirror to reflect reality, but a hammer to shape it,” the poet and playwright Bertolt Brecht once wrote. It’s a mantra that continues to drive Test Dept. who return to their past on this eviscerating new album in order to move into a bold new future. They hope Disturbance can soundtrack a society doing the same. released March 1, 2019 Graham Cunnington - Percussion, Electronics, Vocals Paul Jamrozy - Percussion, Electronics, Vocals Zel Kaute - Drums Lottie Lou - Electronics, Live Sound David Altweger - Visual Director Rob Lewis - Additional Drums Ashley Davies - Bass / Percussion Laura Thompson - Additional Vocals on 'Gatekeeper' Roz Corrigan - Piano on 'Debris' Michelle Outram - Cello on 'Truth' Jordi Blanchar & Ilenia Bombardi - Additional Vocals Recorded: Flesh & Bone Studios, Hackney The Shed, Nunhead Mixed & Produced: The Shed Engineered: Lottie Lou Mastered: Giovanni Versari at La Maestra Mastering, Tredozio (FC) GBH84 Is dedicated to The Orgreave Truth & Justice Campaign Artwork by David Altweger Photos by Michael Kötter https://testdept.bandcamp.com/album/disturbance	2019	€13.00
TESTCARD	#23: TRANSZENDENZ - Ausweg, Fluchtweg, Holzweg?	BOOK	In der avancierten Popkritik genießt Transzendenz keinen guten Ruf. Im frühen Punk wurde ein explizites Transzendenzverbot ausgerufen; das bewegungslinke Lager denunzierte das »Ausklinken« als konterrevolutionär oder verklärte es im Reggae zum »antiimperialistischen Befreiungskampf«. Als der moderne Pop in den 1950ern entstand, war er das Immanenteste überhaupt geschaffen für das reine Diesseits. Das Jenseits, die Transzendenz, tauchte lediglich ironisch gebrochen, als Diskurs zweiter Ordnung auf. Erst ab den 1960ern lassen sich explizite Transzendenz-Momente im Popkosmos finden. Und gleichzeitig wurde Kritik laut: Was ins Jenseits ausgreift, ist entweder kein Pop oder schlechter Pop. Doch Pop störte sich nicht daran, brachte das Transzendente als Leerstelle zum Schwingen und füllte diese mit Schlagworten aus dem Fundus von Esoterik, Raumfahrt und Psychedelic. Kurz darauf wurde das Transzendente offensichtlich gemacht. Christlicher Rock und der islamisierte Cat Stevens wollten den Pop missionieren, Heavy Metal verklärte ein negatives Christentum. Und im Krautrock, im Jazz und in der experimentellen Musik diente ein Spiritualitätsgestus stets der Abgrenzung zu den Niederungen der Popkultur. In den 1990ern wurde die Transzendenz dann rehabilitiert, zumindest solange sie nicht mit säkular-moralischen Normen in Konflikt geriet. Dem Jenseits brachte man dieselbe diffuse Toleranz entgegen, wie den meisten anderen Pop-Phänomenen auch. Heute bedienen Neo-Drone und Neo-Psych ein bestimmtes Marktsegment unter vielen gleichwertigen. Und damit macht sich Sprachlosigkeit breit. Wie reden wir über spiritistischen Neo-Folk oder Hauntology, wenn die politisch inspirierten Kategorien der Vergangenheit ebenso wenig greifen wollen wie diejenigen der Weltflucht? Und was genau ist das Transzendente an der gegenwärtigen Entgrenzung der Stile? Inhaltsverzeichnis Johannes Ullmaier: Worüber man nicht reden kann, darüber. Transzendenz und ihre Rolle in Musik und Popkultur Roger Behrens: Der Geist der Utopie Thomas Hübener: Notizen zur Transzendenz im Säkularpop Martin Niederauer: »If you find earth boring …«. Spiritualität und Religiosität im Jazz und die Interpretationen des Unbestimmten Holger Adam: Spirituelle Neuorientierung jenseits von Krautrock und Neuer Musik. Peter Michael Hamels Musik der 1970er-Jahre Volker Zander: Moondogs Oberton-Kontinuum Wolfgang Brauneis: »Ich lebe in meinem eigenen Königreich«. Zu Michael Buthes Kunst der 1970er-Jahre Tim Stüttgen: Sun Ra: Kosmischer Noise. Eine quare Lesart von Sun Ras musika-lischer und performativer Praxis im Schatten der Sklaverei-Geschichte ?Move On Up. Die große Transzendenz-Diskografie Frank Apunkt Schneider / Didi Neidhart: Discotranszendenz & Distant Thunder … Transpirationen am Tag danach Franziska Meifert: Turn on, tune in, drop out! LSD, Musik, Transzendenz Alexander Nym: Vom Pilzkult zur Popkultur. Entheogene im Dienst des kulturellen Wandels Michael Horowitz: Tickets zur Transzendenz Sascha Hommer / Martina Lenzin: Parolen aus der Stadt. Abenteuer eines Wolfes. Episode zwei Christian Werthschulte: »Wir leben in einer Nicht-Zeit«. Ein Gespräch mit Mark Fisher über die Geister der Zukunft David Schwertgen: Was soll denn eigentlich verschwunden sein? Vaporwave und die Leere hinter der Oberfläche Raphael Smarzoch: Schwellenakustik. Liminale Klanglandschaften in und jenseits von Pascal Laugiers Martyrs Flora Könemann: Text, Ton, Stimme, Frequenz. Transzendenz? Das (un-)stimmige der (eigenen) Stimme Hendrik Otremba: Tobias Gruben und die Wahrheit. Zur Erinnerung an einen fast Vergessenen Wolfgang Buechs / Jonas Engelmann / Jens Meisenheimer: Jurpolp From an Unknown Planet. Sun Ra antwortet Marius Henderson: Soft Berry Metal. Eine »häretische« Annäherung an Black Metal Theory Gerald Fiebig: (Verheißungs-?)Volle Dröhnung. Dronemusik und spätmoderne Zeiterfahrung Peter Scheiffele: Vodou. Eine politisch-religiöse Praxis zwischen Revolution und Überlebenskampf Sandro Holzheimer: Yeah Science!? Die Transzendenz des neuen Atheismus Jasper Nicolaisen: Wir sind hier nicht in Wittenberg, Martin … 95 Thesen zur Möglichkeit einer emanzipatorischen Religion Rezensionen Tonträger A. K. KLOSOWSKI & PYROLATOR: Home-Taping Is Killing Music AARON DILLOWAY: Siena AARON MOORE & THIERRY MUELLER: Today Is Yesterday’s Tomorrow ALAHUTA: First Connexion ANDREAS DORAU: Ärger mit der Unsterblichkeit / Demokratie ANDY STOTT: Luxury Probelms ANIKA: EP ANNE-JAMES CHATON / ANDY MOOR: Transfer ASHLEY PAUL: Line The Clouds ASH WEDNESDAY: Love And Other Numbers BEAK>: Beak>> / Beak>> Bonustracks / 0898/Welcome To The Machine BORIS HEGENBART & 19 ARTISTS: Instrumentarium BRENDA RAY: D’Ya Hear Me: Naffi Years 1979–83 BROADCAST: Berberian Sound Studio BRR: s/t Buch BUDHADITYA CHATTOPADHYAY: Eye Contact With The City BUKE AND GASE: General Dome CANDELILLA: Heart Mutter CHAD VANGAALEN & XIU XIU: The Green Corridor II CHARLATAN: Isolatarium CHARLATAN MEETS THE NORTH SEA: Emerald Eyes CHICALOYOH: Thébaïde Des Pierres Bleues / In My Garden Shed/Vol. 2 / Les Fantômes Sortent Des Racines CHRISTINE SUN KIM / WOLFGANG MÜLLER: Panning Fanning CHUZPE: 1000 Takte Tanz CLASSLESS KULLA & ISTARI LASTERFAHRER: Auf & Zustände COLIN STETSON: New History Warfare Vol. 3: To See More Light CONRAD SCHNITZLER: rot / blau / Consequenz / CON 3 CROCODILES: Endless Flowers DAGOBERT: Dagobert DAVID FENECH: Grand Huit DAVID ROTHENBERG: Bug Music DEMDIKE STARE: Testpressing #1 und #2 DER PLAN:: Die letzte Rache DER PLAN: Geri Reig / Normalette Surprise / Die Letzte Rache / JaPlan DIE NERVEN: Fluidum DIE TÖDLICHE DORIS: Losspielen DIVERSE: Noise of Cologne 2 DOLDRUMS: Lesser Evil DRACULA LEWIS: Permafrost EP DROPOUT PATROL: s/t EKKEHARD EHLERS: Adikia EMIL RICHARDS: Stones – Journey to Bliss ENSEMBLE PEARL: S/T FIELD ROTATION: Fatalist: The Repetition Of History FREIBURG: Aufbruch GEOFF BARROW/BEN SALISBURY: Drokk: Music Inspired By Mega-City One GHOST TIME: Ghost Time GIANNI GUIBLENA ROSACROCE: La Piramide Di Sangue / La Mia Africa GRAFZAHL: Der Rückzug ins Private GRAVETEMPLE: Ambient/Ruin GROUPER: Dragging A Dead Deer Up A Hill / The Man Who Died In His Boat HAFTBEFEHL: Blockplatin HANS W. KOCH / THOMAS LEHN / BEN PATTERSON / JOSEF CSERES: Requiem For A Baby Grand. Final Piano Music For 8 Hands And Tools HECKER: Chimerization (english) / Chimerization (farsi) / Chimerization (deutsch) HOTEL MORPHILA ORCHESTER: Schwarze Energie IANNIS XENAKIS: GRM Works 1957–1962 IGOR WAKHÉVITCH: Logos / Hathor / Docteur Faust / Nagual / Les Fous d’Or / Let’s Start ILLUSION OF SAFETY: Sweet Dreams JACK DICE: Block Motel JENNIFER VEILLEROBE: Luftlöcher JESSIKA KENNEY & EYVIND KANG: The Face Of The Earth JE SUIS LE PETIT CHEVALIER: An Age Of Wonder JOHN FAHEY: Voice Of The Turtle / Transcendental Waterfall: Guitar Excursions 1962–1967 JOHN ZORN / MOONCHILD TRIO: Templars – In Sarcred Blood JUKEBOX MAMBO: Rumba And Afro-Latin Accendet Rhythm & Blues 1949–1960 JUSTIN TIMBERLAKE: The 20/20 Experience KETTCAR: Zwischen den Runden KIASMOS: Throwna EP KIKO C. ESSEIVA: Drôles d’oiseaux KLUSTER: Klusterstraße 69–72 KOFELGSCHROA: Kofelgschroa KOMMANDO SONNE-NMILCH: You Pay I Fuck KUUPUU: Sous Juju / Sisar LAURIE SPIEGEL: The Expanding Universe LORD HURON: Lonesome Dreams LORD TANG: Lord Tang LUBOMYR MELNYK: Corollaries LUNAR ABYSS DEUS ORGANUM: Atanimonni Aitnatsbus MARCUS WIEBUSCH: Hinfort ! Feindliche Macht MARK LORENZ KYSELA: Eins+ MATS GUSTAFSSON / PAAL NILSSEN: Love / I Love It When You Snore MATT CARLSON: All Moments MICHAEL PRICE: A Stillness MILES: Faint Harted MODERN PETS: Excessive/Organic Kidneys MOON DUO: Circles MUTTER: 25 MV&EE: Fuzzweed / Zebulon Residency NATHAN BOWLES: A Bottle, A Buckeye NEIL ARDLEY: A Symphony of Amaranths NILS FRAHM: Screws NILS WOGRAM / SIMON NABATOV: Moodes And Modes NORBERT MÖSLANG: Indoor_Outdoor / The Sound of Insects ONEIROGEN: Kiasma ORBIT THE EARTH: Aphelion OTIS G. JOHNSON: Everything – God Is Love 78 P16.D4: Passagen (6CD+) PALAIS SCHAUMBURG: Palais Schaumburg PELT: Effigy PETER BRODERICK: These Walls Of Mine PETRELS: Onkalo PRSZR: Equilibrium PTTRNS: Body Pressure PYROLATOR: Inland / Ausland / Pyrolator’s Wunderland / Pyrolator’s Traumland / Neuland RACHUT/LANDSCHIER: Blinder Mond RAINER VEIL: Struck RED MATH: Obsolete Systems ROBBIE BASHO: Seal Of The Blue Lotus RUTH FEAT. MUSHY: Far From Paradise SAFFRONKEIRA: Tourette SCHORSCH KAMERUN: Der Mensch lässt nach SELVHENTER: Fricka B. Fricka / s/t SLEAFORD MODS: Austerity Dogs SPRINGINTGUT: Where We Need No Map STEPHEN MALKMUS AND FRIENDS: Can’s Ege Bamyasi SUN PAPA & THE FAN CLUB ORCHESTRA: An Insane Portrait SUUM CUIQUE: Ascetic Ideals SUZANNE CIANI: Seven Waves / Lixiviation Ciani/Musica Inc. 1969–1985 / Voices of Packaged Souls SWEET VALLEY: Stay Calm / Eternal Champ / Jenova THE BLACK TWIG PICKERS: Rough Carpenters THE COSMIC JOKERS: The Cosmic Jokers THE EX & BRASS UNBOUND: Enormous Door THE NORTH SEA: Grandeur & Weakness THE PETER BRÖTZMANN CHICAGO TENTET: Concert For Fukushima, Wels 2011 THE SCHWARZENBACH: Farnschiffe THE SOUND OF GERI REIG. Düsseldorf – San José 1979. The Original Tapes UN-KOMMUNITI: Black Dwarf Wreckordings 83–85 URBAN HOMES: Centres V. A.: Personal Space – Electronic Soul 1974–1984 VARIOUS: Drone-Mind // Mind-Drone Vol. 2 VARIOUS ARTISTS: Your Victorian Breasts VATICAN SHADOW: Ornamented Walls VIRGIL MOOREFIELD: No Business As Usual / Five Ideas About the Relation of Sight and Sound VLADISLAV DELAY: Kuopio / Espoo WEISSER WESTEN: Weisser Westen WILLIAM SHELLER: Lux Aeterna WOLD: Freemasonry WOLF EYES: No Answer: Lower Floors XUL ZOLAR: Eternal Love/Goa Bay / Hex YOSHI WADA: Earth Horns With Electronic Drone / Singing In Unison / Off The Wall / The Appointed Cloud / Lament For The Rise And Fall Of The Elephantine Crocodile ZS: Score / Grain Rezensionen Papier DIDI NEIDHARDT / HANS PLATZGUMER: Musik ist Müll HEINRICH DEISL: Im Puls der Nacht. Sub- und Populärkultur in Wien 1955–1976 KARL MEYERBEER / PASCAL SPÄTH: Topf & Söhne – Besetzung auf einem Täterort CHRISTOPH WAGNER: Der Klang der Revolte TIMME ROSENKRANTZ / FRADLEY HAMILTON GARNER: Harlem Jazz Adventures. A European Baron’s Memoir, 1934–1969 DEREK ANSELL: Sugar Free Saxophone. The Life and Music of Jackie McLean MARKUS HEIDINGSFELDER: System Pop PAULA-IRENE VILLA / JULIA JÄCKEL / ZARA S. PFEIFFER U. A. (HG.): Banale Kämpfe? Perspektiven auf Populärkultur und Geschlecht JAMES KENNAWAY: Bad Vibrations. The History of the Idea of Music as a Cause of Disease JENNIFER SHRYANE: Blixa Bargeld and Einstürzende Neubauten: German Experimental Music ›Evading do-re-mi‹ NIKOLAOS KOTSOPOULOS (Hg.): Krautrock. Cosmic Rock and its Legacy HUNTER HUNT-HENDRIX / NICK RICHARDSON / BRANDON STOSUY: Black Metal. Beyond the Darkness THERESA BEYER / THOMAS BURKHALTER (HG.): Out of the Absurdity of Life. Globale Musik CORNELIUS VON JACKHELLN (Hg.): GewaltKunstWerk STAN HAWKINS (Hg.): Pop Music And Easy Listening ANTONIO GRAMSCI: Literatur und Kultur DIETMAR DATH / BARBARA KIRCHNER: Der Implex. Sozialer Fortschritt: Geschichte und Idee SONJA EISMANN (Hg.): Absolute Fashion DIRK BRAUNSTEIN / SEBASTIAN DITTMANN / ISABELLE KLASEN (HG.): Alles Falsch. Auf verlorenem Posten gegen die Kulturindustrie URSULA MARKUS / TANJA POLLI: Das Geschlecht der Seele. Transmenschen erzählen ALEXANDER KARSCHNIA/MICHAEL WEHREN (Hg.): Kommando Johann Fatzer (Ringlokschuppen. Mülheimer Fatzerbücher 1) CORNELIA VISMANN: Das Schöne am Recht NIKLAS LUHMANN: Macht im System WERNER FULD: Das Buch der verbotenen Bücher DAVE MONROE (Hg.): Philosophie für Verdorbene – Essays über Pornografie SVEN LEWANDOWSKI: Die Pornographie der Gesellschaft CHRISTIAN KESSLER: Die läufige Leinwand – Der amerikanische Hardcorefilm 1970–1985 STEFAN SCHELER: Cumshots – Höhepunkte der deutschen Pornofilme 1 + 2 STEFANIE VOIGT / MARKUS KÖHLERSCHMIDT: Die philosophische Wollust – Sinnliches von Sokrates bis Sloterdijk MYRON HURNA: Späte Gegenwart. Zur Historisierung des Holocaust ALEXANDER KLUGE: »Wer ein Wort des Trostes spricht, ist ein Verräter«. 48 Geschichten für Fritz Bauer ANNIKA SCHEFFEL: Bevor alles verschwindet SARAH DIEHL: Eskimo Limon 9 VLADIMIR JABOTINSKY: Die Fünf SARA STRIDSBERG: Darling River: Doloresvariationen JOSEF WINKLER: Wortschatz der Nacht / Mutter und der Bleistift BRIAN WOOD / MARK BROOKS / ROLAND BOSCHI: 100% Marvel 64: Wolverine und die X-Men. Alpha & Omega WENZEL STORCH: Arno & Alice ANKE FEUCHTENBERGER: Die Spaziergängerin SOPHIA MARTINECK: Hühner, Porno, Schlägerei MARC-ANTOINE MATHIEU: 3 Sekunden TONTO (Hg.): Noise SASCHA HOMMER (Hg.): Orang # 10: Heavy Metal HENNING WAGENBRETH / R. L. STEVENSON: Der Pirat und der Apotheker ATAK / MARK TWAIN: Der geheimnisvolle Fremde CHRIS WARE: Jimmy Corrigan. Der klügste Junge der Welt THOMAS VON STEINAECKER / H. J. BALMES u. a. (Hg.): Neue Rundschau: Comic – Form und Inhalt KERI SMITH: Mach Mist! MEL GOODING / JULIAN ROTHENSTEIN (Hg.): Psychospiele – Persönlichkeitstests, Spiele und Fragebögen JÖRG VÖLLNAGEL: Alchemie – Die königliche Kunst HARTMUT KRAFT (Hg.): Ecce BLALLA! Abstürze und Höhenflüge PAULE HAMMER: Welt-Enzyklopädie DIETMAR DATH / HEIKE AUMÜLLER: Verbotene Verbesserungen CHRISTIANE ZU SALM (Hg.): Manifesto Collage GISELA VETTER-LIEBENOW (Hg.): Karikatur & Zeichenkunst TOBIAS G. NATTER / ELISABETH LEOPOLD / LEOPOLD MUSEUM (Hg.): Nackte Männer – Eine Entdeckungsreise LENTOS KUNSTMUSEUM LINZ / LUDWIG MUSEUM (Hg.): Der nackte Mann DOX PRAGUE (Hg.): Amor Psyche Aktion – Wien. Das Feminine im Wiener Aktionismus MUSEUM MODERNER KUNST STIFTUNG LUDWIG WIEN (Hg.): Wiener Aktionismus – Kunst und Aufbruch im Wien der 1960er-Jahre HANS-PETER WIPPLINGER (Hg.): Padhi Frieberger – Glanz und Elend der Moderne HANNAH PILARCZYK (Hg.): Ich hatte die Zeit meines Lebens. Über den Film Dirty Dancing und seine Bedeutung KONRAD KLEJSA/SCHAMMA SCHAHADAT/MARGARETE WACH (HG.): Der polnische Film. Von seinen Anfängen bis zur Gegenwart CHRISTIAN SCHIFFER (Hg.): WASD – Texte über Games. Vol. 2 »Select System – Games und Politik« GEORG SEESSLEN: Träumen Androiden von elektronischen Orgasmen? / Garten der Lüste / Future Sex in Queertopia (Sex-Fantasien in der Hightech-Welt I–III) WOLFGANG MÜLLER / AN PANHUYSEN (Hg.): Gebärde, Zeichen, Kunst WOLFGANG MÜLLER: Subkultur Westberlin 1979–1989. Freizeit [Verlagsinfo] www.ventil-verlag.de/katalog/testcard	2013	€15.00
	#24: BUG REPORT. Digital war besser	BOOK	" »Wie würden Sie das Internet beschreiben?« »Als die Hölle in bunt, mit Nullen und Einsen. Eine binäre bunte Hölle.« – Bernd das Brot Bei kaum einem Medium fallen Theorie und Praxis so wenig in eins wie bei Computern und dem Internet. Wir lesen Blogs, auf denen in einer Breite und Tiefe über nischenhafte Popmusik gesprochen wird, wie es im »goldenen Zeitalter« des Pop-Journalismus niemals möglich gewesen wäre. Wir halten unsere Plattensammlungen mit Datenbanken, die von ihren NutzerInnen gefüllt werden, auf dem neuesten Stand. Gleichzeitig steht uns ein Großteil der Musikgeschichte mit ein paar Suchanfragen zur Verfügung – womöglich illegal, auf jeden Fall aber kostengünstig. Auch die testcard-Redaktion selbst, die sich zwischen drei Großstädten und einer bayerischen Universitätsstadt aufteilt, wäre ohne das Netz kaum koordinierbar. Trotzdem hört man gerade in sub- und gegenkulturellen Kreisen Klagen, die weit über die Kritik an der Datensammlung durch Regierungen, Geheimdienste und Medienkonzerne oder mickrigen Spotify-Einnahmen hinausgehen. Von »digitaler Erschöpfung« ist da die Rede oder von »kommunikativem Kapitalismus«, von einer Verschränkung von Liberalismus und Kybernetik, der Herrschaft der Algorithmen oder vom »fucking Internet«. Zeit für eine Bestandsaufnahme jenseits von kalifornischer Ideologie und »Disruption«, aber ausdrücklich nicht auf der Seite derjenigen, die mit aller Macht ihren Einfluss von den alten Medien in die neuen herüberretten wollen. Vielleicht sprechen wir letztlich über ein altes Problem: Was ist die Basis, was der Überbau, wie verhalten sie sich zueinander? Das Sprechen über Digitalisierung und das Netz fällt uns vielleicht deshalb schwer, weil die Form von Technologie nicht ohne ihren polit-ökonomischen und sozialen Rahmen zu denken ist. Oder sind ein anderes Computing und ein anderes Netz möglich? Aus dem Inhalt: Sounds der Digitalisierung >> Verschaltete Welt >> Kleine Genealogie des Computers >> Digitales ABC >> Zustand und Zukunft des Webcomics >> Digitale vs. analoge »Gegenwart« >> Nathan Jurgensons Webtheorien >> Mensch-Maschinen und Roboter >> Erzählen in der Digitalisierung >> Altern der digitalen Ästhetik >> Retrospieleboom >> Ungegenstand der Musikinformatik >> Let’s Player >> Indie-Computerspiele >> Ästhetik des Post-Digitalen >> ... Inhaltsverzeichnis Christian Werthschulte: (right now, please). Warum die digitale Gegenwart irgendwie auch nicht besser als die analoge geworden ist Roger Behrens: Digital ABC Roger Behrens: Digitale Frist. Computer. Pop. (Beta-Version) eve massacre: Network of blood. Von »Augmented Reality« bis zum »Liquid Self«: Nathan Jurgensons Webtheorien Waltraud Blischke: Bugs, Big Data und die UnverNETZbaren. Ein Gespräch mit Peter Bittner, Stefan Hügel und Julia Stoll vom FIfF Marco Schröder: Eine Maschine für alle Maschinen. Kleine Genealogie des Computers mit Implikationen für seine Anwendung in Philosophie und Musik Raphael Smarzoch: Rumorende Algorithmen. Die Sounds der Digitalisierung Flora Könemann & Chris W. Wilpert: Part of your distortion. Effekte im Zeitalter ihrer Re-Auratisierung Julian Rohrhuber: Dienst nach Vorschrift. Über den Ungegenstand der Musikinformatik Waltraud Blischke: t-cardcomp. Die Musikliste zur ungeregelten Geschmacksynthese Jonas Engelmann: In Love With the Modern World. Ein virtueller Roundtable über Zustand und Zukunft des Webcomics hierzulande Carl Wiemer: Das schnelle Altern der digitalen Ästhetik. Samuel Beckett und der Zenit ?ästhetischer Modernität David Schwertgen: Der Autor im Zeitalter seiner technischen Reproduzierbarkeit Johannes Ullmaier: Human Trouble. Transhumane Anthropologie im Turing-Test Hommer / Lenzin: Parolen aus der Stadt. Abenteuer eines Wolfes. Episode 3 Bettina Wilpert: Guided by Voices. Erzählen in der Digitalisierung Waltraud Blischke: »Wenn man damit Geld verdienen kann, muss das ja salonfähig sein.« Ein Gespräch mit dem Let’s Player SgtRumpel Philipp Eichhorn: Technology in our hands. DIY als Totengräber des Fortschritts anhand des Retrospielebooms Fiona Sara Schmidt: Die Geschichte muss das Medium notwendig machen. Die Spieledesignerin Lea Schönfelder über Autorenspiele, Zensur und perfekte Posen Benedikt Frank / Thomas Schröder: Wo andere Urlaub machen. Arbeit im Spiel, Spiele als Arbeit Rezensionen Tonträger: 20.SV: The Great Sonic Wave ADDISON GROOVE: Turn Up The Silence ALOA: s/t ALTE SAU: s/t ALVARIUS B: Chin Spirits AMANDA FEERY: Spells From The Ice Age AME ZEK: Rostfrei AMON DÜÜL II: Düülirium ANDROMERDA MEGA EXPRESS ORCHESTRA: Live on Planet Earth ASTRAL SOCIAL CLUB: Medow Mechanicals BANANA PILL: Weave BANKS: GODDESS BART DE PAEPE: Rhode BEYONCÉ KNOWLES: s/t BILL ORCUTT: Daddy’s Got A Spice Rack BILL ORCUTT: Fantomas ? Le Faux Magistrat BIRD PEOPLE: King Of the Grove / Nightshades BOHREN UND DER CLUB OF GORE: Piano Nights BRIDGET HAYDEN: Just Ideas/The Night’s Veins BUCK GOOTER: Molescules BULBUL: Hirn Fein Hacken CATHY LANE: The Hebrides Suite CHRIS PETIT: The Museum of Loneliness CHRISTINA KUBISCH UND ECKEHARD GÜTER: Mosaïque Mosaic CICADA DREAM BAND: Bug Music CRASH COURSE IN SCIENCE: Signals from the Pier Thirteen DANIEL BACHMANN: Orange Co. Serenade DANIEL BLINKHORN:Terra Subfónica DAS WEISSE PFERD: Inland Empire DATASHOCK: Keine Oase in Sicht DEUTSCHE TRINKERJUGEND: Scheissegal DIE HEITERKEIT: Monterey DIE PARTEI La Freiheit des Geistes DIVIL A’ BIT: In Deference To The Squeamish DJ RASHAD: Rollin’ EP / Double Cup / We On 1 DJ SARDENA: The Voice: Studio Sardena DJ SLUGO: King Of Ghetto House DSR LINES: Spoel EEK: Live At The Cairo High Cinema Institute EIKO ISHIBASHI: Imitation Of Live EMBRYO: Message From Era Ora FENNESZ: Bécs FENSTER: The Pink Caves FILIPE FELIZARDO: Volume II ? Sede e Morte ? Guitar Variations For The Thirsty And The Dead FKA TWIGS: LP1 GONZÁLEZ & STEENKISTE: Dimly Lit GÜNTER SCHLIENZ: Contemplation HAILU MERGIA: Shemonmuanaye HALSABSCHNEIDER: Havelmusik 1982?1984 HEIN SCHOERS: The Sounding Museum: Box Of Treasures HELEN: Witch/Zanzibar HELLVETE: Ode HONIGRITTER: Kellergeister in unserem Haus IF, BWANA: Live at the Logos Tetrahedon INEZ LIGHTFOOT: Sleep By Day / Fly By Night ISLAJA: S U U JA, PANIK: Libertatia JAMMIN GERALD: Factory Funk JASON LESCALLEET: Much To My Demise JEFF & JANE HUDSON: Flesh JIM O’ ROURKE / PAAL NILSSEN-LOVE / LASSE MARHAUG: The Love Robots JIM O’ ROURKE: Old News / No.?9 / No.?5 / No.?7 / No.?6 / No.?8 / FIRE! WITH JIM JOSHUA BURKETT: Xavier’s Birds JUMPING BACK SLASH: Namhlanje EP KELIS: Food KEMIALLISET YSTÄVÄT: Alas Rattoisaa Virtaa KILLERLADY: s/t KK NULL + THE NOISER: s/t KLINISCH SAUBER: Kommerz Krieg Mond! KREIDLER: ABC KREISKY: Blick auf die Alpen KRISSI B: The Duke LANA DEL REY: Ultraviolence LASSE-MARC RIEKS: Helgoland LAU NAU: Valohiukkanen LEAST CARPET: Back Alley LIEVEN MARTENS MOANA: Os Canais LILY ALLEN: Sheezus LIMPE FUCHS / VIZ MICHAEL KREMITZ: Kugel Haus Musik LOS MICROWAVES: Life After Breakfast LOUIS SARNO: Song From The Forest LOVE A / KOETER: Split LUKE FOWLER: Fowl Tapes II MAMMANE SANI: La Musique Électronique Du Niger / Mammane Sani And The Workstation / Taaritt MANY ARMS: Suspended Definiton MARCELLUS PITTMAN: Do You Like Music EP / 1044 Coplin MARION, FRANZISKA UND ARNULF MEIFERT: Incredible Familiar Music / Absolute Relative Music MARK PRITCHARD: You Don’t Know Me MARY OCHER: Eden MERZOURGA: 52°46’ North 13°29’ East. Music For Waxcylinders METABOLISMUS: Sus MOUSE ON MARS: Spezmodia EP MURENA MURENA: Ghoaster Coaster MUTTER: Text und Musik MY BLOODY VALENTINE: mbv NOXAGT: Brutage / Collection 1 O’ ROURKE / Steamroom OLIMPIA SPLENDID: Nuttu Nurin ORACLES: Stanford Torus EP OREN AMBARCHI, KEIJI HAINO & JIM O’ ROURKE: Imikuzushi / Now While It’s Still Warm Let Us Pour In All The Mystery ORPHAN FAIRYTALE: My Favourite Fairytale PANABRITE: Wasteland Cycle PARRIS MITCHELL: Project EP PART WILD HORSES MANE ON BOTH SIDES: Aulos’ Second Reed PASCAL NICHOLS: Nihilist Chakai House PATRICK COWLEY: School Daze PETER MICHAEL HAMEL / THOMAS GUNDERMANN: Coincidence PETER MICHAEL HAMEL:Voice Of Silence PHARRELL WILLIAMS: G I R L RAMBLING BOYS: True To Blue RASHAD BECKER: Traditionel Music of National Species Vol. 1 RAUM: Event Of Your Leaving RAZEN: Reed Bombus LFO RODOLPHE ALEXIS: Morne Diablotins RP BOO: Legacy RUARI O’ BAOIGHILL: The Faceless One RYLEY WALKER: All Kinds Of You SCHREIN: Einszweinschrein SIR RICHARD BISHOP: Solo Acoustic Vol. 8 STAER: Daughters STEVE GUNN / MIKE COOPER: Cantons de Lisboa / Way Out Weather STOSSTRUPP REVIVAL DUETT: s/t SUN RA: Mix-Tape SUNROOF!: Rock Power SWANS: To Be Kind TENSES: Howard THE SPACE LADY: The Space Lady’s Greatest Hits / »Major Tom«/»Radar Love« / Recorded Live in San Francisco / Songs in the Key of Z. Vol. 2 THE YOUNG MOTHERS: A Mothers Work Is Never Done THEO PARRISH: Footwork / American Intelligence / Theo Parrish’s Black Signature TOM WU: s/t TRAXMAN: Da Mind Of Traxman / Da Mind Of Traxman 2 / Westside Boogie Traxy Vol. 3 TREK WITH QUINTRONIC: Landing Plus VALERIO TRICOLI: Miseri Lares VAPOUR THEORIES: Split-LP VENN RAIN: Crepuscular Raze VARIOUS ARTISTS: Keine Bewegung! VARIOUS ARTISTS: Pulsating Strings: A Collection of Psychedelic Asian Guitar Music VARIOUS ARTISTS: 10 Year Anniversary Hybrid Vinyl Series VARIOUS ARTISTS: Cassette Van Antwerpen VARIOUS ARTISTS: La Psicotropia VILLAGE OF SPACES: Gathering WESTBAM: Götterstrasse WILLIAM ONYEABOR: Who Is William Onyeabor? WILLIAM TYLER: Impossible Truth WOOG RIOTS: From Lo-Fi to Disco ZEA: The Swimming City Rezensionen Papier: ALBERTINE SARRAZIN: Astragalus ASTRID KUSSER: Körper in Schieflage. Tanzen im Strudel des Black Atlantic um 1900 BENJAMIN STEIN: Das Alphabet des Rabbi Löw BLACK HAWK HANCOCK: American Allegory. Lindy Hop And The Racial Imagination BRECHT EVENS: Die Amateure CHRISTIANE BAREITHER, KASPAR MAASE, MIRJAM NAST (HG.): Unterhaltung und Vergnügung. Beiträge der Europäischen Ethnologie zur Populärkulturforschung CHRISTOPHE BLAIN: Gus: 1. Nathalie / 2. Schöner Bandit / 3. Ernest CLAUDIA BOSSE (Hg.): Cheap Method Edition #1. Struggling Bodies In Capitalist Societies (Democracies) DANIEL CLOWES: Der Todesstrahl DAVID BUCKLEY: Kraftwerk. Die unautorisierte Biographie DAVID PRUDHOMME: Einmal durch den Louvre DAVID SIMONELLI: Working Class Heroes. Rock Music and British Society in the 1960s and 1970s DENNIS EICK: Digitales Erzählen. Die Dramaturgie der Neuen Medien DIEDRICH DIEDERICHSEN: Über Pop-Musik DIETER MERSCH: Ordo ab chao ? Order from Noise DIETMAR DATH / OLIVER SCHEIBLER: Mensch wie Gras wie DIETMAR DATH: Feldeváye ? Roman der letzten Künste DOUGLAS RUSHKOFF: Present Shock EKKEHARD KNÖRER: Battlestar Galactica ENNO STAHL: Diskurspogo. Über Literatur und Gesellschaft ERIKA SCHMIED: Peter Kurzeck ? Der radikale Biograph ERWIN IN HET PANHUIS: Hinter den schwulen Lachern. Homosexualität bei den Simpsons FANNY BRITT / ISABELLE ARSENAULT: Jane, der Fuchs und ich FLORIAN CRAMER: Exe.cut(up)able statements. Poetische Kalküle und Phantasmen des selbstausführenden Texts GUNNAR HINDRICHS: Die Autonomie des Klangs HANS BLUMENBERG: Präfiguration. Arbeit am politischen Mythos HANS-CHRISTIAN DANY: Morgen werde ich Idiot. Kybernetik und Kontrollgesellschaft HEIKO KOCH: Casa Pound Italia. Mussolinis Erben IAN F. SVENONIUS: 22 Strategien für die erfolgreiche Gründung einer Rockband JAN SÜSELBECK (HG.): Familiengefühle. Generationengeschichte und NS-Erinnerung in den Medien JOE SACCOS: Der Erste Weltkrieg ? Die Schlacht an der Somme JONAS ENGELMANN: Gerahmter Diskurs ? Gesellschaftsbilder im Independent-Comic JÜRGEN SCHMICH: Plattensüchtig. Expeditionen in eine andere Welt. 7 Schallplattensammler im Interview JÜRGEN ZIMMERER: Kein Platz an der Sonne. Erinnerungsorte der deutschen Kolonialgeschichte KATIA FOUQUET: Jonas oder der Künstler bei der Arbeit KITTY KRAUS: Lidschlag LINDER STERLING: Frau/Objekt LUCIUS BURCKHARDT: Der kleinstmögliche Eingriff MAGNUS KLAUE: Verschenkte Gelegenheiten. Polemiken, Glossen, Essays MAISHA EGGERS / GRADA KILOMBA / PEGGY PIESCHE / SUSAN ARNDT: Mythen, Masken und Subjekte. Kritische Weißseinsforschung in Deutschland MANUEL MENRATH: Afrika im Blick. Afrikabilder im deutschsprachigen Europa 1870?1970 MARIA JANION: Die Polen und ihre Vampire. Studien zur Kritik kultureller Phantasmen MARK BUTLER: Das Spiel mit sich. (Kink, Drugs & Hip-Hop). Populäre Techniken des Selbst zu Beginn des 21. Jahrhunderts MARTIN NIEDERAUER: Die Widerständigkeiten des Jazz. Sozialgeschichte und Improvisation unter den Imperativen der Kulturindustrie MERCEDES BUNZ: Die stille Revolution. Wie Algorithmen Wissen, Arbeit, Öffentlichkeit und Politik verändern, ohne dabei viel Lärm zu machen MICHAEL PETRY (HG.): Nature Morte ? Stillleben in der zeitgenössischen Kunst MICHAEL PHILIPP / BUCERIUS KUNSTFORUM (HG.): Dionysos. Rausch und Ekstase OSWALD WIENER: die verbesserung von mitteleuropa OUMAR DIALLO / JOACHIM ZELLER: Black Berlin. Die deutsche Metropole und ihre afrikanische Diaspora in Geschichte und Gegenwart PETER KURZECK: Bis er kommt / Angehalten die Zeit SPRING: The ABC of Tragedy / Wunder STEFFEN SCHOLL: Musik ? Raum ? Technik. Zur Entwicklung und Anwendung der graphischen Programmierumgebung »Max« STEPHAN PACKARD (Hg.): Comics & Politik STUART HALL: Ausgewählte Schriften SUSAN ARNDT / ANTJE HORNSCHEIDT: Afrika und die deutsche Sprache. Ein kritisches Nachschlagewerk SUSAN ARNDT / NADJA OFUATEY-ALAZARD: Wie Rassismus aus Wörtern spricht. (K)erben des Kolonialismus im Wissensarchiv deutsche Sprache THOMAS MEINECKE: Analog. Kolumnen TOBIAS GOLL / DANIEL KEIL / THOMAS TELIOS (HG.): Critical Matter. Diskussionen eines neuen Materialismus VARIOUS ARTISTS: In 50 Comics um die Welt / Comics zur Lage der Welt VOLKAN ÇIDAM: Die Phänomenologie des Widergeistes. Eine anerkennungstheoretische Deutung von Marx’ normativer Kritik am Kapitalismus im Kapital VOLKO KAMENSKY / JULIAN ROHRUBER (HG.): Ton. Texte zur Akustik im Dokumentarfilm WENZEL STORCH: Die Filme WERNER SCHWAB: Fäkaliendramen WOLFGANG HERRNDORF: Arbeit und Struktur" [Verlags / website info] www.ventil-verlag.de/katalog/testcard	2014	€15.00
THE BRAIN	All Human is Error	LP	Created in early 2020 by American graphic artist Scott Summers and German-born guitarist/electronics engineer Karl Gottlaus, Workshop of Filthy Creation is a small privately funded record label that serves as the "official" production and distribution node for The Brain. Workshop of Filthy Creation also exists as a platform for the release of projects by other artists whose music exists somewhere in that vast gray area where experimental music and improvisational electronic music intersect. Workshop of Filthy Creation also intends to re-release works by various artists from the 1970s and 1980s whose music was either neglected or underappreciated during their time. All Human Is Error is the second full-length album by German expatriate (now living in Portland, Oregon) The Brain (aka Karl Gottlaus), and continues his exploration of harsh electronics and violent guitar, this time accompanied by Japanese drummer/percussionist Body Hammer. Utilizing neither sequencers nor digital samplers, neither MIDI technology nor computer-based recording/production techniques, All Human Is Error returns the listener to the mindfields of Germany's post-1960s man-machine blitzkrieg and France's "after the barricades" cold wave vanguard. Featuring a battery of analog synthesizers, audio generators, and tape machines, as well as slashing, angular guitar and thunderous drums, All Human Is Error takes the molten past of 70s-era "kosmische musik" as an aural starting point before erupting into a volcanic hailstorm seething with calculated menace and mayhem. As a whole, All Human Is Error heralds an uncertain future where the ever present threat of war, environmental collapse, viral apocalypse, and global genocide becomes more probable each day. Available in LP/DD formats. For more information and orders, contact Scott Summers or Karl Gottlaus. Artist: The Brain Title: All Human Is Error Catalog #: WLP04 Release Date: March 2022 https://thebrainshop.bandcamp.com/album/all-human-is-error	2022	€23.00
	Experiments for Guitar + Machines	LP	About Workshop of Filthy Creation Created in early 2020 by American graphic artist Scott Summers and German-born guitarist/electronics engineer Karl Gottlaus, Workshop of Filthy Creation is a small privately funded record label that serves as the "official" production and distribution node for The Brain. Workshop of Filthy Creation also exists as a platform for the release of projects by other artists whose music exists somewhere in that vast gray area where experimental music and improvisational electronic music intersect. Workshop of Filthy Creation also intends to re-release works by various artists from the 1970s and 1980s whose music was either neglected or underappreciated during their time. The Brain's debut release Experiments for Guitar + Machines is also the debut release on Workshop of Filthy Creation, a label devoted to the exploration of noise, sound and music in an uncertain world. The Brain's initial album, available on vinyl and as a digital download, is a collection of experimental guitar/electronic soundscapes that recall the early work of Heldon, Cyborg-era Klaus Schulze, and the surreal kling-klang blitzkrieg of Conrad Schnitzler. Mesmerizing analog synthesizer drones collide with abrasive guitar textures to create dense sound collages that blur the distinction between industrial mayhem and ambient calm. If the true essence of music lies in its inherent unpredictability, then The Brain's initial release fully captures this anarchistic spirit. It is an approach to music that has been nearly abandoned in this new sterile age of MIDI and the endless programming of beats, where music has become merely a commodity for mindless consumption and perfunctory excretion. Available in LP/DD formats from Bandcamp at www.thebrainshop.bandcamp.com and directly from Workshop of Filthy Creation. For more information and orders, contact Scott Summers or Karl Gottlaus. Artist: The Brain Title: Experiments for Guitar + Machines Catalog #: WLP02 Release Date: August 2020	2022	€23.00
THEME & JEAN-HERVE PERON & ZSOLT SORES	Poison is (not) the Word	mLP	"In early September 2011, Theme, the Poland/UK-based group centred around Lumberton Trading Company’s very own Richard Johnson (ex-Splintered, Husk, etc.) and Stuart Carter (ex-Splintered, The Fields Of Hay, ex-Heroin, etc.), went into a Budapest studio with their good friends Zsolt Sörés and Jean-herve Peron (a.ka. Art-Errorist of influential German group, Faust) for two days. Although some basic ideas had been worked on and discussed prior to this meeting, the main objective was to record a side-long piece of music that used one of these ideas as a starting point to what would otherwise essentially amount to a collaborative improvisation with Zsolt, plus further collaborative pieces for the other side of the record both involving also Jean-herve Peron and being completely of the moment. The main piece, entitled ‘Poison Is (Not) The Word’, pays witness to Theme branching into territory probably closer to their work as Splintered (i.e., their Moraine LP from 1996, which featured Jim O’Rourke source material on one side). Stretching over 24 minutes in length, it remains anchored to Theme’s tendency for psychedelic drones and textures whilst Zsolt applies improvised electronics and viola to them and words are either chanted or spat out. A saxophone, added by Zsolt Varga, then completes the sprawling ‘brink-of-chaos’ feel perfectly. On the other side are two pieces also spanning over 20 minutes between them. The first, ‘Baszd meg az apád!’ (which translates as ‘Fuck Your Father’ from Hungarian), begins misleadingly as a mass of atmospheric swirls, cavaquinho plucking, textures, psalterion, and sax until Jean-herve cuts in with some shouted vocals as effective as they are brief. The second, ‘Puszta Psycho’, is built around a tempered refrain of cavaquinho string picking led by Jean-herve then welded to subtle touches of hissing electronics, psalterion, space clatter, sax blasts (courtesy of Varga), subtle textural plumes, indiscernible knocking and scrunching sounds, Jean-herve’s vocals and buried chanting by Richard Johnson. This MLP represents the first of two vinyl releases that document the time these artists all recorded and played live together over a period of 10 days. The second release will be a limited edition 7” on LTCo sister label, Fourth Dimension. It is hoped another tour by Theme, Jhp-Art Errorist and Zsolt will take place in October or November 2012." [label info] www.lumberton-trading.com	2012	€15.00
THIS HEAT	same	LP	"Second pressing of vinyl re-issue. First official vinyl re-issue in collaboration with original band members Charles Bullen and Charles Hayward. 24 bit/96 kHz re-master from original analog tapes. Includes booklet with track notes and archival photos. Isn't it so often the case that the most innovative works of art -- the ones that break the ground where others follow -- are the ones that seem to reach only the ears of those who take those ideas and run with them? So it is with This Heat and their eponymous debut album frequently referred to as 'blue and yellow' for its ultra-minimal jacket. Within its 48 minute run time, the seeds of post-punk, avant rock, noise rock and post-rock can be found. Formed in Brixton, a multicultural, and -- at the time -- down-at-heel part of south London, This Heat were born into a music scene in rapid flux, first thanks to the punk explosion and then via new wave and its myriad offshoots into pop, rock and art-rock. But while many sought to apply punk attitude to chart-friendly sounds, This Heat were concocting some of the most experimental ideas ever committed to tape, taking influence from musique concrète, krautrock, the burgeoning industrial scene and even the dub reggae blasting out in their home borough. Their debut album had -- for the time and for the DIY scene -- an unusually long gestation, recorded in sessions between February 1976 and September 1978 in a variety of studios including their own Cold Storage, a converted cold storage room in the Acme Studios complex. Innovating throughout, they combined loops and tape manipulation with live performance and haunting vocals to a complex, dissonant whole. The band recorded everything they ever did -- including gigs -- and tracks such as 'Water' were entirely improvised in the studio. Given the difficult, abrasive, and involved nature of their sound, This Heat never found anything approaching mainstream success, but patronage by the influential Radio 1 DJ John Peel meant they reached a national audience -- whether that audience was ready for them or not. Celebrating This Heat's 40th anniversary in 2016, Modern Classics Recordings will re-issue the band's catalog -- 1979's This Heat, 1980's Health and Efficiency, and 1981's Deceit -- with full co-operation of surviving members Charles Bullen and Charles Hayward. Four decades on, the tireless efforts of This Heat's process can once again be a revelation for new audiences." [label info] www.lightintheattic.net „Was diese so Band so ausnehmend macht und selbst unter heutigen Maßstäben so ungemindert bestechend, ist in meinen Ohren der Thrill zwischen schwebenden Momenten, in denen die Musik die Luft anzuhalten oder garottiert zu werden scheint und sich enorme Energie aufstaut, und den unglaublich intensiven Eruptionen in Gestalt des ostinaten Drummings und sich ins Gehirn fressender Loops. Dazu kommt dann noch an besonders sublimen Momenten HAYWARDs Gesang mit einem Timbre, das einem die Kehle zuschnürt durch den wehen Ton und mit heißkalter Dringlichkeit die Schädeldecke aufstemmt....“ [Bad Alchemy #51] “A landmark recording by one of most important British bands, full stop. this, their first release, tore up the book and laid new rules for band composition and performance. First, the music: without precedent, then, the musicians: all extraordinary, all uncompromisingly radical, then the way it was all put together: endlessly surprising, hammeringly intense, and the sound: hard, radical, crafted, rich, with complete control of the frequency range. Beautifully recorded, radically mixed, this was breathtakingly present. Stripped back to the bone but never simplified. And it hasn't aged. this is deep, complex work that creates its own world, anticipating much that was to follow in the next 15 years. A luminous release out of print (for almost a decade?). Re-mastered by the group for this re release.“ [label info] "Earlier this year, a few months back, we made the 40th anniversary This Heat vinyl reissues our Records Of The Week. More like Records Of All Time, really. The two full-lengths (This Heat and Deceit) quickly sold out, and have been sadly absent from our racks for the past little while - but now they both have been repressed, and are available again at a slightly lower price than before (thanks to no longer being in gatefold jackets). If somehow you missed out before, we urge you to get 'em now! Our review of this one... Oooh, at last nicely reissued on vinyl, automatic Records Of The Week!!! What more is there to say that we haven't already said (at length, below, you'll see) about these This Heat records? Trying to explain why this record is so good is sort of like trying to explain why ice cream is so delicious. Or maybe it's kind of like writing an introduction for the new Pynchon novel. Or telling a few jokes before Richard Pryor comes on stage. Or throwing a couple quick passes before Joe Montana comes on the field. It's that daunting, that overwhelming, that impossible. The trio of Charles Hayward, Charles Bullen, and Gareth Williams known collectively as This Heat were one of the few bands that literally changed people's lives. Changed the way folks thought about music. I (Andee) couldn't believe music like this actually existed. It was everything I wanted to listen to before I knew that THIS was exactly what I wanted to listen to. Hit It Or Quit It publisher / rock critic / indie scenstress Jessica Hopper once wrote that she literally pee'd her pants the first time she heard This Heat. And it's not hard to see why. Without This Heat, modern, alternative, avant garde music as we know it would be a whole different beast. Post rock, math rock, avant rock are hugely indebted to the genre shattering experimentalism of This Heat. Tortoise, You Fantastic, Yona Kit, Brise Glace, Psychic Paramount, Laddio Bolocko, Radian, Village Of Savoonga, Larsen, Starfuckers, Circle, Salvatore, I Am Spoonbender - none of those bands would even exist if it weren't for This Heat, or if they still did you can bet they would sound a whole lot different. And that's just off the top of our heads, AND that's -just- bands whose sound directly reflects the influence of This Heat. Imagine how many performers and artists were influenced by This Heat but who let that influence manifest itself in not so obvious ways. We once described This Heat as "Krautrock-ish hyper rhythmic tape-looped prog." Which comes close to succinctly describing the magical musical alchemy of This Heat, but still only scratches the surface. This is their self titled debut, originally released in 1979, which manages over the course of about 50 minutes to redefine almost all music that has come before. The sound of This Heat is rhythm and texture and dynamics. The recording studio as instrument. Every sound and every song is based on rhythm and texture. There are hooks, and melodies, but they exist to serve the rhythm and are often born from the deft manipulation of sound and tempo. Even the most static and repetitive parts manage to sound -musical-. There are vocals, but they are minimal and otherworldly, weary and sing songy and completely mesmerizing. A droning musical accompaniment to the haunting whirs and clanging percussion in the background. This record is such a totally immersive and strangely lovely musical environment. From the machinelike Krautrock of "Horizontal Hold" to the dreamy contemplative "Twilight Furniture" with its simple chiming guitars, muted tribal percussion and keening vocals, to the bizarre affected drum workout of "24 Track Loop", it's like wandering through some alien musical world. As sky full of greys and blues, smeary drones floating gently by, haunting quavering vocals drifting below, like tendrils of smoke, the barren landscape littered with all manner of rhythmic outcroppings, harsh jagged crashes and booms, as well as low rolling thumps and stutters, off in the distance simple spare melodies float and hover, each note a glowing spot on the horizon. Absolutely and utterly overwhelmingly brilliant. There are plenty of places on the web and in magazines to read more about the history of the band, the band members, the various releases and reissues (see elsewhere on the AQ website for reviews of past editions of various TH recordings) but none of that ultimately matters as much as the sound. And oh the glorious sound. Just take a listen to the sound samples and no words will be necessary." [Aquarius Records]	2016	€26.50
THIS IMMORTAL COIL	The dark Age of Love	CD	Noch ein COIL-Tribut Album mit Neu-Interpretationen von Klassikern der Band - aber diesmal wirklich "ganz anders": Inspiriert von seligen THIS MORTAL COIL Zeiten auf 4AD sind hier von einer illustren Scharn an "Singern & Songwritern" kammermusikalisch & folkig-instrumental geprägte Versionen entstanden, eine schöner & melancholischer als die andere... "Members of This Immortal Coil are Yaël Naim, Bonnie Prince Billy, Yann Tiersen, Matt Elliott, DAAU, Chapelier Fou, Sylvain Chauveau, Christine Ott, Oktopus, Nightwood, David Donatien & Nicolas Jorio. "On November the thirteenth 2004, Jhonn Balance passed away, He was, along with Peter Christopherson, the founding member of the band Coil. His brutal death marked the end of over twenty years of activism and musical genius. I have then decided to work on a project that would pay tribute to them. I didn't want another compilation that would pile up pieces, without any link. My wish was to transpose this unique musical mood to another one, more classical and more accessible to everyone. The whole idea was to pay tribute to the music for what was beyond it, just the way Coil underlined it: "Coil is more than music". I got my inspiration from the project This Mortal Coil, started in the eighties by the English label 4AD. Its label manager had then grouped some of its own artists together in order to play some standards of rock and pop music. Most of those who participated in this work hardly knew Coil. My purpose wasn't to go towards those artists who had a conscious connection with the music of the group, let alone musicians who claimed to be the heirs to this seminal work. My aim was to play with the discovery and take Coil's pieces towards new interpretations, rid of all influences. The respect and the admiration that I have for Coil's work led me to surround myself with talented artists also admired for their brilliant writing. I needed strong personalities who would show a maybe unconscious will to put all their soul, with great humility and maturity, in their participation. The interpretation of Bonnie Prince Billy being certainly the most poignant testimony. Each artist that was hired for this project was utterly fascinated by the depth of the repertory. They have all been motivated and glad to bring their know how and share it with the others. Members of DAAU from Anvers, the virtuoso Christine Ott, Yann Tiersen and Matt Elliott have lived productive, strong and passionate meetings, which made Yann Tiersen offer Matt Elliott to participate to his new album Dust Lane. To finish and in order to strenghten this team spirit, the whole album was mixed by Oktopus (Dälek) who knew better than anyone how to put each member of the project's contribution forward. Peter Christopherson, who since has gone back to working on his first two groups Throbbing Gristle and P.TV, has written about the titles of This Immortal Coil: "I LOVE THEM. It is the first time somebody with musical sensibility and talent has put so much time and effort into covering Coil songs. It totally passes my "hairs on the back of your neck standing up" test for the whole running time of the album. I was awe-struck." After four years spent managing this project, I could not ask for more." [full label/website info] www.icidailleurs.com	2009	€14.50
	The World ended a long Time ago	do-LP	In 2009, following the death of Jhonn Balance four years earlier, This Immortal Coil's "The Dark Age Of Love" appeared as a tribute to the superb work of the British band Coil over two decades.Formed by musicians from all walks of life, the album was praised by critics but also, and most importantly, by Peter Christopherson himself! 13 years have passed and this passion for the band has never wavered. Following the death of Peter Christopherson in 2010 on the one hand, and meetings with musicians such as Massimo Pupillo (Zü), Aho Ssan and Kristoffer Rygg (Ulver) who in turn wanted to pay tribute to this gigantic band, on the other hand, Stéphane Grégoire's (founder of the label Ici d'ailleurs) desire to make a new opus took shape in 2017 with a first recording of the title "Where Are You". Just like the first one, more than 5 years will be necessary to realize this new album so that it is at the height of Coil's genius. The Ici d'Ailleurs team is very proud to unveil This Immortal Coil's second album 'The World Ended A Long Time Ago'.That will be available on December 09, 2022 in several formats (DL / CD / 2[LP] / BOX- 3[CD] / BOX - 5[LP]) that will be revealed very soon. The artists this time are Coil lovers but without the album being a "lovers" cover, that would be the opposite of Coil's image. Many, many thanks to Shannon Wright, David Chalmin, Matt Elliott, Christine Ott, Aho Ssan, Gaspar Claus, Aidan Baker, Ulver (Kristoffer Rygg, Ole Alexander Halstensgard, Stian Westerhus), Massimo Pupillo, Mattia Cipolli, Elisa Bognetti, Stefano Michelotti, Francesco Bolognini, Marton Csokas, Ivan Chiossone and Eric Aldéa who make this project a reality This Immortal Coil "The World Ended A Long Time Ago » is : Shannon Wright - David Chalmin - Matt Elliott - Christine Ott - Aho Ssan - Gaspar Claus - Aidan Baker - Franck Laurino - Kristoffer Rygg - Ole Alexander Halstensgård - Stian Westerhus - Massimo Pupillo - Mattia Cipolli - Elisa Bognetti - Stefano Michelotti - Francesco Bolognini - Márton Csókás - Ivan Chiossone - Eric Aldéa https://thisimmortalcoil.bandcamp.com/album/the-world-ended-a-long-time-ago	2022	€26.00
	The World ended a long Time ago (special ed.)	3 x CD BOX	In 2009, following the death of Jhonn Balance four years earlier, This Immortal Coil's "The Dark Age Of Love" appeared as a tribute to the superb work of the British band Coil over two decades.Formed by musicians from all walks of life, the album was praised by critics but also, and most importantly, by Peter Christopherson himself! 13 years have passed and this passion for the band has never wavered. Following the death of Peter Christopherson in 2010 on the one hand, and meetings with musicians such as Massimo Pupillo (Zü), Aho Ssan and Kristoffer Rygg (Ulver) who in turn wanted to pay tribute to this gigantic band, on the other hand, Stéphane Grégoire's (founder of the label Ici d'ailleurs) desire to make a new opus took shape in 2017 with a first recording of the title "Where Are You". Just like the first one, more than 5 years will be necessary to realize this new album so that it is at the height of Coil's genius. The Ici d'Ailleurs team is very proud to unveil This Immortal Coil's second album 'The World Ended A Long Time Ago'.That will be available on December 09, 2022 in several formats (DL / CD / 2[LP] / BOX- 3[CD] / BOX - 5[LP]) that will be revealed very soon. The artists this time are Coil lovers but without the album being a "lovers" cover, that would be the opposite of Coil's image. Many, many thanks to Shannon Wright, David Chalmin, Matt Elliott, Christine Ott, Aho Ssan, Gaspar Claus, Aidan Baker, Ulver (Kristoffer Rygg, Ole Alexander Halstensgard, Stian Westerhus), Massimo Pupillo, Mattia Cipolli, Elisa Bognetti, Stefano Michelotti, Francesco Bolognini, Marton Csokas, Ivan Chiossone and Eric Aldéa who make this project a reality This Immortal Coil "The World Ended A Long Time Ago » is : Shannon Wright - David Chalmin - Matt Elliott - Christine Ott - Aho Ssan - Gaspar Claus - Aidan Baker - Franck Laurino - Kristoffer Rygg - Ole Alexander Halstensgård - Stian Westerhus - Massimo Pupillo - Mattia Cipolli - Elisa Bognetti - Stefano Michelotti - Francesco Bolognini - Márton Csókás - Ivan Chiossone - Eric Aldéa https://thisimmortalcoil.bandcamp.com/album/the-world-ended-a-long-time-ago	2022	€26.00
THIS MORTAL COIL	Blood	CD	Third and last album from the 4AD-supergroup. "This group was essentially the creation of Ivo Watts-Russell, the co-owner of 4AD Records, a highly successful Wandsworth, London-based independent label. This Mortal Coil was actually a collaboration of musicians recording in various permutations, overseen and directed by Watts-Russell. The first single, an epic cover version of Tim Buckley 's 'Song To The Siren', was originally intended as a b-side. However, bolstered by the considerable talents of Robin Guthrie and Elizabeth Fraser (Cocteau Twins), it saw its own release and became a near-permanent fixture in the independent charts as a result. The album that followed set the pattern for the occasional outings to come.(...) Featuring a selection of artists from the 4AD roster plus various outsiders, the albums included several cover versions of works by Watts-Russell's favourite songwriters (Buckley, Alex Chilton, Roy Harper, Gene Clark and Syd Barrett )." [unknown source]	1991	€15.50
TIBETAN RED / THE OVAL LANGUAGE / DAS SYNTHETISCHE MISCHGEWEBE	The Breath of the Hydra	CD	A three way collaboration between the Germany based THE OVAL LANGUAGE, the Catalan TIBETAN RED and DAS SYNTHETISCHE MISCHGEWEBE living in Rennes, France. In an on and off exchange since end of 2016, a continuous exchange of audio material, ideas and suggestions. Salvador Francesch and Guido Hübner meet again after long years at the occasion of a concert of the latter one at the LEM festival in Barcelona. Since then working together became evident as was the choice of including Klaus-Peter John with whom several collaborations had already seen the light of day through the years, most notably the homage to the late Carlfriedrich Claus ‘sprechzimmern’ with RLW as well as a 2x CD collection of collaborations on the notorious Monochrome Vison label in Moscow. The association of their different sound worlds and even more specifically their extremely particular fashions of creating them was meant to merge and melt in a whole able to blur clear distinctions with only an occasional sneaking out of a head and a hissing tongue amongst many that takes the scent and direction respectively in the brooding heat that forges shape and carves direction. TIBETAN RED Salvador Francesch is a catalan-canadian painter, sculptor and sound explorer who lives in La Garrotxa, Girona. He has released 5 CDs in his Tibetan Red project. His work pursues experimentation with sounds that seek to convey some aspects of his interest in Eastern rituals and ceremonial art. THE OVAL LANGUAGE Klaus-Peter John is from Leipzig, the project started as a trio in the early 80’s working to turn into his solo project with sound, noise works in open spaces, photography, installations and land-art informed projects in which mainly the voice is put center stage. DAS SYNTHETISCHE MISCHGEWEBE started in the early 80’s in Berlin with cassette production and performative concerts, exhibitions and installations to which a D.I.Y. approach of a lot of customized equipment became inherent accompanying an interest in several areas of science and technology. Moved to Barcelona then France, producing many recordings and performance works. https://emerge.bandcamp.com/album/the-breath-of-the-hydra "The Breath of the Hydra (ACU 1029), da weißt man ja, es sind drei Köpfe. So auch hier: TIBETAN RED + THE OVAL LANGUAGE + DAS SYNTHETISCHE MISCHGEWEBE. Ersterer, Salvador Francesch in La Garrotxa in den katalonischen Pyrenäen, hat dem mit Todo entretenimiento es una anticipación del infierno auch das Motto vorangestellt. Der Dichter José Bergamin soll das gesagt haben, als Vorstand der Alianza de Intelectuales Antifascistas der kulturelle Kopf der Spanischen Republik, der Picasso den Auftrag zu "Guernica" gegeben hat. Francesch teilt mit Bergamins Rechtfertigung des 'Roten Terrors' allemal die Vorliebe für Rot und offenbar auch die Vorfreude auf die Hölle. Blödsinn, natürlich die Abneigung gegen Amusement. Er ist mit seinem Debut 1985 auf Freedom in a Vacuum nicht ganz so lange dabei wie Guido Hübner, der ab 1981 sich der Cassette- & Soundculture einschrieb. Bei "Sprechzimmern" (2015), einer Hommage an den konkreten Lautpoeten Carlfriedrich Claus, und zehn Jahre zuvor bei 'Papillon Schizophone' war er dabei auch schon mit Peter John zusammengekommen. Der Leipziger, der in den 80ern als Sänger bei Neu Rot (!) anfing, hat sich nach "Hibernation" & "Waldkonzerte" auf Edition Telemark zuletzt mit "Hexen Hexer" gegen Denunziation und Hexenjagden positioniert, auch wenn heute dabei, anders als im Spanischen Bürgerkrieg und beim Hydraschlachten, seltener Blut fließt. Ich kann mir eine 'Melancholie des Widerstands', wie sie Hübner von László Krasznahorkai aufgegriffen hat, als das Verbindende zwischen den dreien vorstellen bei ihrem alchemistischen Procedere mit brodeligem Köcheln und Sieden, das einher geht mit kratzigen und schleifenden Impulsen und hohleren, quasi perkussiven Anmutungen, die das überwölben. Dazu vexieren zirpige, halbwegs natürliche Klänge mit einem leisen, hauchzarten 'Schreiben' mit metallischem Griffel, über das motorische, zischende, sirrend oszillierende Attacken hinweggehen und einen industrialen Dominator installieren, der impulsiv oder gedämpft rumort und infernalische Stimmen nur ahnen lässt. Der Griffel schreibt weiter in einer opaken Nichtstille und hat dabei etwas von einem Keuchen oder Röcheln an sich. Martialische Wellen mischen das auf, und zischende Ventile machen das zu einem Tauchgang in die Schinderwerkstätten der Schlotbarone. Trappeliges Toben, abgerissene Kürzel und tatsächlich der Kehle entrissene Laute verunklaren dabei die Differenz von Mensch-Maschine, Organisch-Anorganisch, Außen-Innen, Hart-Weich, Makro-Mikro. Immer wieder leise als bruitistische Audiographie aus winzigen, halb wie gehauchten Krakeln vor einer nun dröhnend bebenden Klangwand. Wenn nur das Schreien nicht wäre, das infernalische, kaum zu hören, aber doch nicht zu leugnen. Ganz in der Nähe - Folterkeller, Höllen. Die satanischen Mühlen mahlen als zerrende Tonbandspuren, weiß der Teufel, was sich hinter verschlossenen Türen alles abspielt. Scharrt da wer an Metall? Was sind das für unheimliche Heimlichkeiten?" [Bad Alchemy] "German Attenuation Circuit label run by Sascha aka EMERGE, has released a new album in which three sound artists of electronic experimental music collaborate: German artist The Oval Language, Catalan Tibetan Red and Das Synthetische Mischgewebe who lives in Rennes, France. "The Breath of the Hydra" is the result of exchanging audio files since the end of 2016. Salvador Francesch is a Catalan-Canadian painter, sculptor and sound explorer who lives in La Garrotxa, Girona. He has published five CD's with his Tibetan Red project. Klaus-Peter John aka The Oval Language is from Leipzig and works in noise, open space, photography, installations and informed land-art projects where the voice takes center stage. Guido Hübner aka Das Synthetische Mischgewebe started in the early 80's in Berlin with the production of cassettes and performance concerts, exhibitions and installations. This album consists of a single track of almost 52 minutes long which unfurls two faces. One, the sound is almost imperceptible and silence plays a relevant role. In the other, drones and noises are the background of a proposal with a strong organic character and consequently, gasping and buried voices are barely heard and spit out an indecipherable language. The clicks near the middle of the track look like whips that are followed by screams which are in the distance. All this takes place in a dark ambience that well represents the history of the Hydra." [Guillermo Escudero/LOOP] https://emerge.bandcamp.com/album/the-breath-of-the-hydra, http://www.attenuationcircuit.de/	2021	€12.00
TIETCHENS, ASMUS	Fast ohne Titel, Korrosion	CD	"Black Rose Recordings are proud to present the exceptional new album by Asmus Tietchens. Corrosion is a degradation mechanism. It is an insidious process often difficult to recognise until deterioration is well advanced. Are these new pieces a comment on the current state of noise music, serious music or both? As a pioneer of electronic composition his work spans over three decades and doesn’t fit easily into any one category. Early recordings ranged from experiments with tape machines and electronic sound through to experimental pop. Later works were a more sculptural blend of abstract microelectronics, industrial sounds and musique concrete. Never straightforward or obvious, always unpredictable and innovative his ground breaking music influences many working in today’s experimental music scene. He has worked almost exclusively as a solo artist but recent releases have seen him collaborate with well known and diverse artists such as Dieter Moebius (Cluster & Harmonia), Thomas Koener and Richard Chartier." [label info] www.tietchens.de "In my spare time I listen to pop music, usually, but then, in 2013, I asked myself: why do I still have so many CDs? Isn't it about time to listen to those again, and see what you have, which are keepers and which are goers. In a random fashion I pick a bunch of CDs of the shelf and play them until the end, because, when not played to the end, what's the reason for keeping them? From some artists I stayed away for a while. I can safely say I have almost all of the works by Asmus Tietchens, but I was afraid of going there. I feared I would not find enough concentration to examine each and everyone properly and make the wrong decision and see them go. But once I started to play them I was totally immersed. I am nearly done with all of them, and then much to my surprise, here's a new work by Tietchens. The titles poke fun with the notion of 'ernste musik', the German term to create a distinction between serious music and entertainment music. Maybe its a comment, Black Rose asks, on 'the current state of noise music, serious music or both'? An interesting question, perhaps, but much to my surprise I notice something else. In the past ten years Tietchens explored the quiet areas of electronic music, with some highly refined music, not unlike the work of say Richard Chartier. Here he seems to return to some of his earlier electronic music, from the late 80s, early 90s, but perhaps generated with the means he uses these days. This results in a piece like 'Kaum Noch Ernste Musik', with a pulsating click beat (think Pan Sonic or Goem), and the well-know Tietchens tricks on oscillators. It's something entirely different than what you would expect. Maybe it's a bit long this piece which clocks in at over ten minutes. Throughout the pieces on this album, eight in total, do not have strong rhythm sounds, but they surely sound louder than we are used from him in recent times. It takes the 'serious' electronic music from the sixties, with it's sustaining sounds fading in loud and about. It's heavy music, but it's great music. Only in a few pieces, aptly called for instance 'Sehr Ernste Musik', Tietchens shows some of his more quiet side, but in the other pieces he sounds like his tape manipulation work 'Daseinsverfehlung', bursting about, such as in 'Eingeschränkt Ernste Musik'. And then there is also the humorous Tietchens with a vinyl loop in 'Keine Ernste Musik' or 'Im Ernst? (Für H.K.)', which sees him playing something that sounds like Trautonium. This, ladies and gentleman, is an excellent CD. If you are keen to hear new musical movements by this man, but not every move, then this is one of those releases you should surely hear." [FdW/Vital Weekly]	2013	€13.00
	Adventures in Sound / Nachtstücke	do-CD	Das Bremer Label DIE STADT startet eine Wiederveröffentlichungs-Serie von nicht mehr erhältlichen TIETCHENS-Scheiben – hier der Anfang mit der allerersten LP ‚Nachtstücke’ von 1980, die noch Früh-Achtziger Charme aufweist, dazu schier unglaubliches Material aus den Sechzigern auf der zweiten CD !! “First in a series of 18 CD's aiming to make available all early vinyl albums by ASMUS TIETCHENS between 1980 - 1991 on CD. Each release feat. the original tracks (sometimes extended / original versions) + unreleased bonus tracks from the same recording period, original artwork + accompanying texts by TIETCHENS. This - the only 2CD in the series - feat. his very first album 'Nachtstücke' from 1980 (incl. 4 bonus tracks) + a 2nd CD with archive material recorded with his long time friend Okko Bekker between 1965-1969. These are the first works in TIETCHENS long career as a sound artist and were never released before. Edition of 1000 copies in jewelcase with full color poster booklet. About the artist: ASMUS TIETCHENS started recording music as early as 1965 (documented here on 'Adventures In Sound') though his first release only appeared 15 years later ('Nachtstücke'). Ever since then he stayed very productive and had numerous cassette, vinyl and CD releases on numerous labels (Sky, United Dairies, Dom, Staalplaat, Ritornell and Die Stadt to name just a few). He has collaborated with various other like minded artists such as Okko Bekker, Cluster, Conny Plank, Terry Burrows, Liquidski, David Lee Myers (Arcane Device) and most recently with Thomas Köner who is one half of their ongoing collaborational project KONTAKT DER JÜNGLINGE (who so far released 3 CD's DS34/DS39/DS48 on Die Stadt).” [press release]	2003	€18.00
	Biotop	LP	"Scheppernd, künstlich und plärrend bunt: Reissue des 81er-Albums des Hamburger Elektronikers. Asmus Tietchens ist einer der bekanntesten deutschen Künstler im Bereich der abstrakten Musik. Fünf seiner Frühwerke, die grob im Bereich Avantgarde-Synthiepop zu verorten sind, werden nun beim Label Bureau B wieder veröffentlicht. "Biotop" war 1981 Tietchens’ erste LP bei Sky Records (u. a. Cluster, Rother, Roedelius, Moebius, Plank, Riechmann). Es mag rückblickend wie eine bewusste Irreführung erscheinen, dass die ersten musikalischen Hervorbringungen von Asmus Tietchens als schräg tönender Pseudopop daherkommen. Vier Alben aus den Jahren 1981-83 sowie diverse Einzelstücke bilden die "Zeitzeichen"-Phase, die sich mit den Worten ihres Urhebers durch den Einsatz von "rhythmisch-harmonischen Versatzstücken und quietschbunten Schallplattenhüllen" auszeichnet. Die Stücke auf "Biotop" sind mit ihren insektoiden Fiepstönen, der bollerigen Perkussion und der verschleppten Kinderliedhaftigkeit so scheppernd, künstlich und plärrend bunt, wie es den Vorstellungen eines Künstlers entsprach, der reguläre Unterhaltungsmusik weder herstellen konnte noch wollte. // Asmus Tietchens is one of the best known German artists in the field of abstract music. His early works though are finest avant-garde synthesizer pop. "Biotop" was Tietchens' first release on the German label Sky Records (Cluster, Michael Rother etc.). It is inhabited by insectoid squeaks, banging percussion and echoes of displaced nursery rhymes. These blaring, crashing tracks glare with artifice, mirroring the ideas of an artist lacking the inclination and capacity to compose straightforward easy listening music. "Spät-Europa" also conveys a banefully distorted pseudo pop soundscape of disjointed rhythms and oblique melodies, defined by nervous pulses, cool alacrity and croaking toots; tongue in cheek it most certainly is, but the musical arrangement again affirms its own identity. Here, shadowy, rumbling industrial elements cut into the neon coloured pieces indicative of the artist's parallel lines of development. Both reissues are available on CD (Digipak), vinyl (180g) and for download." [label info] www.bureau-b.com	2013	€20.00
	Spät-Europa	LP	"Wieder veröffentlichtes Album aus der Frühphase des Avantgardemusikers. Asmus Tietchens ist wohl einer der bekanntesten Künstler im Bereich abstrakter Musik. Fünf seiner Frühwerke, die grob unter Avantgarde-Synthiepop zu verorten sind, werden jetzt vom Label Bureau B wieder veröffentlicht. Während Tietchens mit "Biotop" (1981) plante, "in die Zukunft" aufzubrechen, zeigt er sich auf "Spät-Europa" in dieser angekommen. Als zweites Album der "Zeitzeichen"-Phase im Jahr 1982 auf Sky Records veröffentlicht, führt es den Stil des Vorgängers nicht nur weiter, sondern bringt ihn um eine Nuance treffender auf den Punkt. Auch "Spät-Europa" transportiert jene gallig übersteuerte Pseudo-Pop-Klangwelt voller verstolperter Rhythmen und schräger Melodien. Dabei ragen mitunter düster grollende Industrial-Elemente in die neonbunten Stücke hinein, wohingegen die Form der Stücke knapp und pointiert gehalten wird: Wie schon auf "Biotop" strebte Tietchens auch auf "Spät-Europa" 20 Zwei-Minuten-Miniaturen an. Und auch hier bildet mit "Epitaph" ein betont sperriges Stück den Abschluss. Asmus Tietchens is one of the best known German artists in the field of abstract music. His early works though are finest avant-garde synthesizer pop. "Biotop" was Tietchens' first release on the German label Sky Records (Cluster, Michael Rother etc.). It is inhabited by insectoid squeaks, banging percussion and echoes of displaced nursery rhymes. These blaring, crashing tracks glare with artifice, mirroring the ideas of an artist lacking the inclination and capacity to compose straightforward easy listening music. "Spät-Europa" also conveys a banefully distorted pseudo pop soundscape of disjointed rhythms and oblique melodies, defined by nervous pulses, cool alacrity and croaking toots; tongue in cheek it most certainly is, but the musical arrangement again affirms its own identity. Here, shadowy, rumbling industrial elements cut into the neon coloured pieces indicative of the artist's parallel lines of development. Both reissues are available on CD (Digipak), vinyl (180g) and for download." [label info] www.bureau-b.com	2013	€18.50
	Schatten ohne Licht	CD	"Black Rose Recordings are proud to present the exceptional new album by Asmus Tietchens. E.M. Cioran plays a very important role in most of Tietchen's work and this release is no different. For this release Cioran has a fellow anthropofugal thinker: Ulrich Horstmann. The theme of this release deals with a return to a mineral world without any organic species, and therefore uninhabitable for human beings. This very radical dystopia serves as a foil to the six chapters of "Schatten ohne Licht". There is something profound about the music. It can be slow and is certainly contemplative. Maybe the music is a sign of the state of our times? As a pioneer of electronic composition his work spans over four decades and doesn't fit easily into any one category. Early recordings ranged from experiments with tape machines and electronic sound through to experimental pop. Later works were a more sculptural blend of abstract microelectronics, industrial sounds and musique concrete. Never straightforward or obvious, always unpredictable and innovative. His ground-breaking music influences many working in today's electronic music scene. He has worked almost exclusively as a solo artist, but other releases have seen him collaborate with well-known and diverse artists such as Dieter Moebius (Cluster & Harmonia), Thomas Koener, Richard Chartier, and Merzbow." [press release] "The previous CD by Asmus Tietchens for Black Rose Recordings was 'Fast Ohne Titel, Korrosion' (Vital Weekly 907), which was quite a diversion from his usual quiet music. For 'Schatten Ohne Licht' (shadows without light), there is no such diversion, and Tietchens stays firmly in his silent world. Next to the usual E.M. Cioran quote, the information tells us that Tietchens takes inspiration from the works of Ulrich Horstmann and that the theme for this release is about "a return to a mineral world without any organic species, and there inhabitable for human beings". Also no ray of sunshine in this thinking, but considering the sorry state of the world, one could say it's not the worst idea. With this information in the back of my mind, I started this release and saw images of an empty world; no life at all, just rocks, caves, and minerals; is there a sea? Can it exist without life in it? My knowledge of the natural world is pretty limited, so I don't know. But Tietchens' music here sounds like stale wind over barren land. Wind rustling... well, not leaves and branches, probably, but there is a strong feeling of desolation within this music. As always, I have no idea what kind of sounds Tietchens uses in his music, as the level of processing is quite high, but it works very well. There is a bit of industrial droning in 'Anthroposaurus', which is not something I heard this strong in his other recent releases. In other pieces, this is less evident, so this new release is not a most radical break. It is, however, an excellent release, on par with almost all of Tietchens' releases, but safe to say, as a fanboy, I am probably quite biased. Towards the end of the final piece, 'Kolosse', the volume increases considerable and ends with silence; I believe that is quite a sign, but for what?" [FdW/Vital Weekly] "Fast jedes Album des Hamburgers wird geziert von einem Zitat des großen Pessimisten und Misanthropen E.M. Cioran. „Schatten ohne Licht“ verweist zusätzlich auf den inzwischen emeritierten Anglisten Ulrich Horstamnn, der Anfang der 80er mit seinem anthropofugalen Traktat „Das Untier“ Optimisten und andere Verblendete vor den Kopf stieß: „Vermonden wir unseren stoffwechselsiechen Planeten! Denn nicht bevor sich die Sichel des Trabanten hienieden in tausend Kraterseen spiegelt, nicht bevor Vor- und Nachbild, Mond und Welt, ununterscheidbar geworden sind und Quarzkristalle über den Abgrund einander zublinzeln im Sternenlicht, nicht bevor die letzte Oase verödet, der letzte Seufzer verklungen, der letzte Keim verdorrt ist, wird wieder Eden sein auf Erden.“ Tietchens sprach noch anlässlich seines (auch hier besprochenen) Albums „Bleiche Brunnen“ passenderweise von „[m]enschenferne[n] Klänge[n]“." [African Paper]	2022	€13.00
TIETCHENS, ASMUS / FRIEDER BUTZMANN	NNOI#02	LP	"Second in this series of recordings and documents of artists of the NNOI Festival. The design of the entire series is based on drawings by Frank Diersch, made for this project. This record unites two German greats of the electronic avant-garde of the last 40 years and brings together two worlds that exist like the sides of a coin facing away from each other and yet are firmly connected at the core. 'NNOI#2' can be described as a kind of miraculous "Göffel" - a mixture of fork and spoon. Asmus Tietchens, the glass fork, reduces his 9 compositions 'Stenograms' to abstract structures that force a space that transforms its floating hardness and beauty into the clear outlines of a sculpture. The Tietchens-Monolith is being straightened out further. Frieder Butzmann developed a 'SinusToneSuite' for the 'NNOI'. As a collector of strange objects and apparitions, Frieder went in search of sinustones that could be found between generators, vocal cords and wooden tubes. The 'SinusToneSuite' is an opulent electronic composition, a dance with the golden spoon of unreason and love!"	2020	€19.50
TIETCHENS, ASMUS / MIKI YUI	Neues Boot	CD	TAL presents the first musical collaboration between Hamburg based Asmus Tietchens and Japanese artist Miki Yui, operating out of Düsseldorf for almost 20 years now. Highly respected and hugely influential artist Asmus Tietchens first made his mark on the electronic music scene in the late 1970s, whereas Miki Yui debuted her sonic settings in 1999. Their first joint album NEUES BOOT envelops the listener with a poetic sound sensibility and a conceptual clarity which was processed and passed back and forth between their individual studios in Hamburg and Düsseldorf. Asmus Tietchens: After Stefan Schneider suggested to release a Yui-Tietchens album on his TAL imprint Miki and I quickly developed some ideas towards our eventual collaboration. We agreed upon an ongoing mutual exchange of material. We have both been very familiar with each other's music for a long time and we found our individual approach towards sound design to be uniquely compatible. We do not use our electronic tools in order to merely achieve the maximum of technical possibilities, but to illustrate aesthetic necessities. This entails a deliberate reduction and refined perception of the sonic characteristics of the material. Only this approach enabled us to fully realise the complete spectrum of the sounds and noises we were working with in order to construct this New Boat. Each and everyone of my treatments is e x c l u s i v e l y based on a track supplied by Miki. I added no new sound sources. Naturally the spatial and temporal dimensions of the source material were thus altered. These transformations are exactly what makes our collaboration special and unique. Very early on we had agreed on New Boat as a working title and a guiding light . Of course in the beginning we had no idea where this New Boat might take us. Now we do know. After several months of ship-building the boat has now set sails for new sonic horizons. Ahoi! Miki Yui: The title of the album as well as the individual tracks have been inspired by conversations with Asmus. When we had a chat after one of his concerts, he told me about Kōdō, the Art or the Way of the Scent. It is a 8th century Japanese incense ceremony. Very frequently the names of Japanese incense sticks are derived from natural themes, e.g. Bairin is the plum grove, the scent of the first blossom heralding the end of winter. This poetry, the ephemeral nature of the world reminded me of Kigo, words from a Haiku (a form of Japanese poetry), which reference a particular season or a natural phenomenon. So I chose the names of the individual pieces from Kigo as if The Boat was exploring nature whilst sailing through the seasons. Only in retrospect I realised that the titles combined create this poem: Early spring a hazy view in the night (Oboro) Plum groves (Bairin) Over a Dayfly (Kagerou) A Milkyway (Amanogawa) Dawn (Akatsuki) Art of fragrance (Kōdō) On fragile thin ice (Usurai) https://asmustietchensandmikiyui.bandcamp.com/album/neues-boot "Exquisite electronic subtleties from two generations of explorative artists, pairing the tactile sensitivities of cult Hamburg based Asmus Tietchens with Düsseldorf resident Miki Yui for the first time with marked success. Mutual spirits, Tietchens and Yui have long operated in pursuit of a lower case, spectral muse, and now at the behest of TAL’s Stefan Schneider they present a beautifully insoluble sound that transcends the sum of their parts. Incredibly delicate, and full of nanoscopic movement, the seven tracks unfurl between passages of burbling pastoralism and oneiric drowse, with particular highlights in the hypnotic timbral artefacts of ‘Kagerou’ or ‘Usurai’, and their 10’ of lush scenery inhabited by peacocks and a canopy of phosphorescing animaliculae and atmospheres in ‘Akatsuki’ recalling aspects of Mark Fell & Rian Treanor’s tape for our Documenting Sound series." [Boomkat] "It’s a sad, hard fact that circulating music by means of physical objects is becoming the exception and not the rule. So, if you’re going to do it, might as well do it right and make it special. Future Audio Graphics makes LPs that bind interdisciplinary collaborations within gatefold LPs. Each combines a text by one artist, images by another and a record of sounds by a third. Ironically on Sculpture Gardens the efforts of writer François Bonnet (aka Kassel Jaeger), sculptor Virginia Overton and sound artist Anne Guthrie cohere into a consideration of impermanence. Through his efforts to reissue works of electronic music on vinyl, Bonnet, a published author and the artistic director of Groupe de Recherche Musicales in Paris, has had plenty of opportunity to think about how ready-made vinyl objects can concentrate attention upon work, as well as how rapidly records become items to be hunted rather than merely purchased. Even when one fixes one’s work within an object, other peoples’ perceptions of the object and the work cut into it aren’t fixed. Neither is the object’s availability; LPs sooner or later drift into the collector’s realm. Bonnet doesn’t waste words on the peculiar circumstances of vinyl records in his essay, but a reader might think about his efforts to present them while reading his discussion of the relationships between art objects, ready-made objects and time. Time and the changes that accompany its passage are, he suggests, part of the artist’s material. Virginia Overton’s images depict aluminum pans that she installed at the Whitney Museum of American Art. She used them as containers of small gardens; when the plants died, she flipped them over and used them as sound resonators. Inside one of the museum’s galleries, Overton had placed cast-off pieces of metal and wood, which she repurposed as sculptures. Nothing stays the same, but in change new phenomena emerge. Anne Guthrie’s portion of the work uses sounds collected from Overton’s exhibits as a starting point. She collected field recordings of the gallery interior, the outdoor area where the gardens were installed, weather, distant machinery and close-up captures of herself moving objects and deploying microphones. The magnified sounds of precise work and plants living and dying, sometimes straight and sometimes processed to draw out particular timbres, loom over distant jets and HVAC units, and into this mix Guthrie weaves the distant parping of her French horn. Across four discrete tracks, one can hear different moments and environments fixed for a moment in one representative configuration, which is now an object that can be bought and displayed and played in other times and places. Guthrie’s decisions and actions use Overton’s work as a starting point to illustrate Bonnet’s words." [Bill Meyer /DUSTED]	2021	€14.50
TIETCHENS, ASMUS & DAVID LEE MYERS	Flussdichte	CD	DAVID LEE MYERS ist auch als ARCANE DEVICE bekannt und hat v.a. Anfang der 90er unter diesem Namen hochinteressante Feedback-Musik veröffentlicht. Diese dritte Zusammenarbeit mit A.TIETCHENS nach „Speiseleitung“ (auf Raum 312) dringt in einem Mikrokosmos aus geheimnisvollen elektronischen Sounds ein, die sich schnell verändern und stets Spannung aufrechterhalten... erschienen auf einem neuen Hamburger Label. “ The artist's work consists of creating original circuitry that forces electronic effects devices to generate their own tones and patterns, often in unpredictable ways that are hard to tame. Myers fed his music to electro-acoustic artist Asmus Tietchens (aka Hematic Sunsets) who shaped it into strange soundscapes that could belong as much to Luc Ferrari and Pierre Henry as to modern sound artists like Koji Asano or Rafael Toral. Their soundscapes often hold a dark, almost Gothic atmosphere -- the resonances of electronic cathedrals. Although process-generated (at least in its initial stage), the music never sounds like a calculated exercise. Each piece has been carefully shaped, composed. The sound palette is varied, but always remains close to vintage musique concrète. If track titles like "T29:M5/3" or "T31:M5/10" are not very talkative, the album title already states the best description possible: a dense, rich electrical flux, sculpted with art. Recommended. [Francois Couture \| ALL-MUSIC GUIDE]	2001	€14.00
	Arcs	CD	Next installment in the series of collaborations between these two long standing sound artists. 13 new pieces of reduced elegance. Digipak, 500 copies.	2018	€13.00
TIETCHENS, ASMUS & JON MUELLER	8 Stücke	CD	"Second collaborative effort between german sound manipulation pioneer Asmus Tietchens and american improv-drummer Jon Mueller. The CD features 8 tracks that run up to 53 minutes. Jon Mueller on the second collaboration: “The previous collaboration between Asmus and I involved me using only sounds derived from drum heads. For Acht Stuecke, I've used only Chinese gongs and cymbals, so a completely different range of sound occurs. The performance of the percussion material was from various non-mechanical techniques (striking, swinging gongs, extended techniques, etc.) to create a palette of mostly textural sound with a large frequency range that Asmus could work with.” And indeed, work he did! The completeness that is Acht Stuecke is of breathtaking beauty and simplicity and complexity at the same time. The album is definately more homogenous and ‘together’ than the first meeting of the two musicians. It emanates a warm and deep sound evolving ou t of total soundless blankness as it seems. Jon Mueller has been active for several years in the us improv scene playing in various ensembles and doing solo work. he runs the excellent web mag/label/mailorder croutonmusic.com. Asmus Tietchens has been producing electronic music since the 1960ies and is one of the most renowned sound artists today in Germany. In the last five years he was awarded twice the SWR state radio prize “Karl Sczuka Preis” for radio art. He has released more than 80 records and CDs on labels all around the world." [label info] "...There are occasions in which one doesn’t need to speak too much to establish a truth, and the truth here lies inside the repeated bends and turns of a gorgeous album, among the best of both artists’ career. The original materials furnished by the Milwaukee percussionist - sounds of Chinese gongs and cymbals - were studio-treated by the German manipulator through his usual masterful methods, this time maintaining the qualities of the harmonic resonance of the metal rather evident amidst the choked gulps, the modified waves and the fractured hiccups that we’re used to receive from the Hamburg-based sonic transformer. There’s this splendid three-way cross between the real essence of Mueller’s stricken parts and swinging gongs, the instant mutated jargon developed by Tietchens over that, the final elemental amalgam bringing the whole to sound like a hidden microcosm where a hypnotically undulating presence is blemished by sparse singular voices of unknown entities. It’s really difficult to describe the overall feel in sheer words, but those who are gifted with the ability of picking disguised frequencies from the core of the more superficial ones are in for several special moments, aware of phenomena that not everybody can actually penetrate." [Massimo Ricci / Touching Extremes] www.aufabwegen.com	2007	€13.00
TIETCHENS, ASMUS & RICHARD CHARTIER	Fabrication	do-CD	https://richardchartier.bandcamp.com/album/fabrication Very minimal, silent & mysterious drone- & microsounds, a re-work from TIETCHENS of CHARTIER-material. On the bonus-CD (first 500 copies only) we find additional material which is a little more demanding & concrete... "The first collaboration by these two renowned sound artists. FABRICATION saw its beginning during the production of RE-POST-REFABRICATED, a project in which artists were selected by Richard Chartier to rework/create new works from his 1998 CD POSTFABRICATED for its reissue in 2003. As it was intended as an open project, Asmus Tietchens continued to explore the source materials and suggested further formal collaboration. This evolved into the collaborative work FABRICTAION. The CD comes in a full colour 4-panel digisleeve with artwork and designed by Chartier. The first 500 copies incl. a bonus CD feat. the complete material created by Tietchens from POSTFABRICATED entitled »POST-FABRICATION" [label info] www.diestadtmusik.de	2007	€14.00
	Fabrication 2	do-CD	"500 copies. Designed by Richard Chartier. 'Fabrication 2 ist the sequel to 'Fabrication', the first collaboration between Richard Chartier and Asmus Tietchens released in 2007. Whereas for the first collab the idea developed from the project around reinterpretations of Chartier's 'Postfabricated' this time the efforts where directly focussed on the reinterpretation of specific basic sound material. This basic sound material can be found on the first disc in the set prefabrication 2' which was constructed by Richard Chartier alone in Montreal and Washington, DC. 'Fabrication 2' is the reworking of this sonicbasis by Asmus Tietchens. Whereas the first CD has traces of subtle dematerialized rhythmic structures the second disc is a study in minimalism and concentrated sound manipulation. Richard Chartier (b.1971), sound and installation artist, is considered one of the key figures in the current of reductionist electronic sound art which has been termed both microsound and Neo-Modernist. Chartier's minimalist digital work explores the inter-relationships between the spatial nature of sound, silence, focus, perception and the act of listening itself. Chartier's critically acclaimed sound works have been published over the past 12 years as 38 compact discs on labels such as 12k/LINE (US), Raster-Noton (Germany), Spekk (Japan), Non Visual Objects (Austria), Room40(Australia), Die Stadt (Germany), DSP (Italy), ERS (Netherlands), and Trente Oiseaux (Germany). He has collaborated with noted sound artists Taylor Deupree, William Basinski, CoH, and German pioneer Asmus Tietchens, as well as installation artists Evelina Domnitch, Dmitry Gelfand, and visual artist Linn Meyers. Asmus Tietchens has been producing electronic music since the 1960ies and is one of the most renowned sound artists today in Germany. In the last five years he was awarded twice the SWR state radio prize 'Karl Sczuka Preis' " [label info] www.aufabwegen.com "The first collaborative result between Richard Chartier and Asmus Tietchens was called 'Fabrication' and released together with the rough sound material on a bonus CD. Apparently that was a way of working which both artists like, so its now continued on 'Fabrication 2'. The first 'Fabrication' was an exchange, back and forth, of sound material between the two, on this new one things are a bit different. One disc is the rough sound material composed by Chartier and on the second we find the reworks as carried out by Tietchens based on the Chartier piece. That piece, lasting thirty-nine minutes, is an odd one by Chartier. It is called 'an unusual improvisation' by him, and perhaps its so indeed. It has that, perhaps by now, 'classic' Chartier approach in sound: low, minimalist, drone like, with a minimum of clicks but its all indeed a bit more roughly put together, like more by accident than design. That adds a rather nice perspective to the piece and with those odd changes also perhaps the right source material for Tietchens. He knows his ways with material like this, and created eight different treatments of the material in a classic Tietchens manner. Classic by now, as it continues the sort of interest Tietchens developed in the 21st century, his 'Menge' series. Very sparse electronics, with an emphasis on drone like sounds and treatments in some click like sound. Simply great music, but perhaps I'm not the most objective person about Asmus Tietchens. I don't think I ever heard a bad thing from him. 'Fabrication 2' is a damn fine work among other damn fine works, and nothing that leaps out of that catalogue, but ranks with the best." [FdW / Vital Weekly]	2010	€18.00
TILLY, THOMAS (TO) & JEAN-LUC GUIONNET	Stones, Air, Axioms / Delme	do-LP	2xLP edition of 300 on white vinyl. A Fragment Factory release in association with centre d'art contemporain – la synagogue de Delme. “Stones, Air, Axioms” is an ongoing art and research project by French sound artists Jean-Luc Guionnet and Thomas Tilly, dealing with the complex relationships between sound and architecture. Delme is the third phase within this venture. By virtue of its history and exceptional acoustics, Delme’s former synagogue is the ideal setting for a customised, on-site sound installation. Guionnet and Tilly are deliberately leaving the place empty, giving visitors an experience of both visual and sound architecture. By supplementing the built space with frequencies, as well as voices, instrumental notes, rhythms and silence, the artists offer everyone a special listening situation: whether this listening is drifting or attentive, static or mobile, it is guaranteed to give visitors a different perception of the place, which is remoulded by the volume of air it contains and by the sound travelling through it. fragmentfactory.bandcamp.com/album/stones-air-axioms-delme	2018	€29.00
TREMBLAY, PIERRE-ALEXANDRE	Alter ego	DVD-A	Autoportrait (2001). au Croisé, le silence, seul, tient lieu de parole (2000). Binary (Virtual Rapper Remix) (1998). fugue; qui sent le temps? (1997). la cloche fêlée (2004) "The other self - Finding in music an accomplice, the other, without whom nothing is possible, without whom one cannot grow. Better: through his contact, one really exists, since one plainly sees oneself. A mirror. the other me - My music as an intimate insight, naked, subject to the world's judgement: an act of humility. Through it I present a hidden side of my torment, in my name, alone to take on the poetry of its imperfection. Of my imperfection. the other you - Proposing dreams fragments, paths for wandering, where others can hopefully loose themselves and self-identify to the extent of purging their humanity. Or just to enjoy the road. the other thing - work, not as a superficial exercise of aesthetic seduction, but as an attempt to transcend differences toward the Übermensch. Strong arguments, amoral, music as a vehicle of reflections, Expressionist and Romantic, inducing an effervescence, an urgency to live. Perhaps simply beautiful? other." Pierre-Alexandre Tremblay. First initiated to the world of classical guitar at an early age, Pierre Alexandre Tremblay subsequently dedicated body and soul to composition and bass guitar during his adolescent years. With the support and guidance of Jean-Guy Larin, Michel Tétreault, Michel Donato and Marcelle Deschênes, the young composer forged his unique language in Montréal's teeming cultural life of the '90s and, in 1998, completed his bachelor's degree in composition at the Université de Montréal. Pierre Alexandre Tremblay continued to explore further musical endeavours in the creative atmosphere of England at the beginning of the millennium. He was awarded his PhD in Electroacoustic Composition from the University of Birmingham (UK) in 2005, under the supervision of Jonty Harrison. Since then, Pierre Alexandre Tremblay teaches composition at the University of Huddersfield (UK). In parallel with his academic path, Pierre Alexandre Tremblay formed, in 1996, the contemporary jazz ensemble [iks], which he still leads and with which he continues to tour Europe, America, and Africa. With this ensemble, that has released six albums to date, he practices improvisation on his instrument and, more recently, on realtime processing devices. He is also frequently in the studio for popular music artists, both as producer and session bassist. Well versed in these aesthetic approaches that he considers complementary, Pierre Alexandre Tremblay now seeks to unite them into a single coherent poetic language. He spends his spare time, pursuing his interests in reading and photography, and with his family. In addition, as founding member of the no-tv collective, he does not own a working television set. [label info / credits] www.empreintesdigitales.com	2006	€12.00
TRICOLI, VALERIO	Clonic Earth	do-LP	"The experimental Italian composer returns to PAN with a new LP, titled 'Clonic Earth'. His ongoing output for the label has long-presented his electroacoustic sound compositions where since the mid-'00s, he has utilized analogue live sampling and real-time editing of field and studio recordings by means of manipulation of 1/4 inch tape. Asides from being a founding member of the Italian avant-rock group 3/4HadBeenEliminated, he has worked extensively with various musicians, choreographers and multimedia artists including Thomas Ankersmit, Antoine Chessex, Werner Dafeldecker, Anthony Pateras, and Robert Piotrowicz. His studio compositions, documented on few records, often explore themes of the internal - represented both by the psychological and the physical - and of the occult, which with the use of spoken text makes them often deeply existential works, self-investigations of the psychological, emotional and irrational horror within. The new record, 'Clonic Earth' is a perturbing, compelling and eventually mind-expanding work, marked by compositional strategies of exploded narratives, psychological insight and oracular literary references, where questions about the boundaries of spatial perception in the decoding processes of acousmatic music are overturned into existential, metaphysical questions. Tricoli's allegorical and philosophical universe takes the form of an unhinged mind's landscape swarming with estranged sound objects, and sometimes reminiscent, in the complexity of details and surrealistic effects, of Hieronymus Bosch's larger paintings. Compared to his previous works, the content of 'Clonic Earth' explores more synthesized and heavily processed sounds, especially vocals, often appearing in the form of a religious, electrified chanting. The record is described by its author as a natural consequence of the internal collapse depicted in his previous record, 'Miseri Lares': 'As if all the debris left inside my loudspeakers have been ignited to expand into the ether, to find a justification at the principle of Chaos, or Cosmos alike.' This movement is expressed by references to the theme of fire as original matter in the Chaldean Oracles which, together with the later work of Philip K. Dick, are the main sources for the vocal/text elements of the composition. Fire, intended as the convulsive principle of existence, but also an ontologically terminal element - hence a representation of the infinite decay and a mean of communication with the otherworldly Ð serves the author a metaphor for the acousmatic listening experience itself: a borderline perception of sounds eternally fixed in their spasmodic disappearance, which could eventually drag us into a different layer of reality, drastically changing, subverting, or expanding the space in which they are diffused. A ritual, somehow, which may link the listener and the perceptive space that he inhabits with whatever lies beyond the loudspeakers, beyond the vibrating surface of the world. The 2xLP is mastered and cut by Rashad Becker at D&M, featuring artwork by Bill Kouligas." www.p-a-n.org	2016	€27.50
TROUM & MARTYN BATES	To a Child, Dancing in the Wind	CD	Nach über 2 Jahren konnte die lange geplante Zusammenarbeit von TROUM mit MARTYN BATES endlich fertiggestellt werden. Gedichte des irischen Dichters W.B.YEATS dienten als textliche Grundlage für sechs Stücke voller Sehnsucht & Emotion, Drone-Harmonics treffen auf expressiv gesungene Poesie.... “ - Profound songs inspired by YEATS-poems: The acoustic transformation of the deepest yearning - For this release, the german ‘transcendental-drone’-duo TROUM teams up with the legendary british singer / songwriter and EYELESS IN GAZA-member MARTYN BATES. More than 2 years in the making, MARTYN BATES has sung & played (mouth organ & melodica) over basic material TROUM provided – consisting of harmonic minimal loops & basic song structures derived from accordeon, e-bass & guitar, percussion), who were then also responsible for the final subsequent additions mastering (adding more guitar-work, voices & balalaika). MARTYN BATES has chosen to sing four poems of the famous Irish poet W.B.YEATS, and he did this with a most impressive sensitivity for TROUMS very sublime & rather hidden harmonic structures. There are also two instrumentals in a more experimental style on this disc, one being a dark drone reprise of the main piece “MAD AS THE MIST AND SNOW #2”. MARTYN’s voice is surely not something for everyone – it’s of an extreme emotional & yearnful quality that might be not easy to stand – a yearning which is like a deep “cry out to the horizon”, to something that is unreachable per se, feeling a passion that tears you apart inside. This is pure emotional poetry transformed into yearnful audible spherics! Artwork: Daniel Crokaert, founder of the dream-ambience CDR-label MYSTERY SEAS in Brussels and a long-time fan of both MARTYN BATES & TROUM, has created a stunning 6-panel digipack using pictures provided by Martyn. The Artists: MARTYN BATES is the legendary british songwriter, being active since the early 80’s, one half of EYELESS IN GAZA & also working solo with other musicians and with Alan Trench as 12.000 DAYS. He has established a unique own style combining elements of folk & various other influences with this remarkable singing, being expressively poetic & highly emotional at any time. TROUM is a german duo consisting of 2/3 of the remains of the ambient-industrialists MAEROR TRI (last year saw a rennaisance of M.T. with many re-releases of their works). TROUM describe their music themselves as “transcendental drone-muzak”, a very atmospheric & emotional but often also monumental and noisy, hypnotically & at times trance-inducing rhythmic melange. General Disc-Info: 6-panel 4-colour digipack, 6 tracks, 38:30 playtime” [press release] ”....Now its so much more than 'just' a drone record: the voice forms a counterpart of the music, perhaps because it fits so well. This is certainly on of the best drone records I heard this year, because it's so familiar as well as such a surprise.” [FdW / Vital Weekly]	2006	€12.00
TSUNODA, TOSHIYA	Landscape and Voice	LP	Black Truffle is pleased to present Landscape and Voice, a radical new work (and rare vinyl release) from major Japanese sound artist Toshiya Tsunoda. Undoubtedly one of the most influential artists working with location recordings since the 1990s, Tsunoda’s work possesses a rigorously searching quality that sets him apart from his contemporaries. Tsunoda is known to many listeners for the subtle atmospheric poetry of his early Extract from Field Recording Archive series, which focussed on vibrations recorded in various indoor and outdoor environments in his native Miura Peninsula, often inside pipes, bottles and other vessels. In more recent years, his work has explored the implications of his claim that field recording should be seen as ‘depiction’ rather than ‘documentation’. He has explored disorienting editing and processing in his works with Taku Unami, and, perhaps most radically, represented Maguchi Bay as a kind of kinetic sculpture for shaking speakers by removing all but the inaudible low frequencies from a field recording (Low Frequency Observed at Maguchi Bay). One of the recurrent concerns of Tsunoda’s recent work, as he explains in the crystalline liner notes accompanying this release, is ‘exploring how I can establish a subjective relationship with an environment, rather than seeing it merely as an object to be recorded’. This has taken various forms, from documenting simultaneously an outdoor environment and the blood flowing through the listener/recorder’s body (captured with a stethoscope) on The Temple Recordings, to representing his own experience of the landscape as made up of ‘grains of space and time’ by inserting looped fragments into field recordings in Grains of Spring. On Landscape and Voice, this meeting between subject and object becomes an almost mystical union between the natural and the human. As with all of Tsunoda’s work, a relatively simple concept leads to compelling, thought-provoking results. Landscape and Voice combines vowel sounds spoken by six voices with short, looped fragments of field recordings, their noise character suggesting consonants: voice and landscape thus join together in something like words. The record consists of three pieces, each using a different, richly evocative field recording, which periodically freezes, catching on a looped fragment to which is synchronised an abruptly looped spoken vowel sound. The lengths between these interruptions vary, as do the tempi of the loops. The interruption of these lushly immersive recordings of the world – bristling with bird song, rushing water, distant traffic, and clinking metal – only serves to intensify them, as if the depicted environment itself had been returned to the listener each time it abruptly reappears. At the same time, the constant interruption creates an uncannily frozen effect, as if the recorded environment were an object rather than a stretch of recorded time. When combined with the bare human presence of the vowel sounds, the result is both austere and magical. Pressed on 45RPM for maximum fidelity, in a gorgeous sleeve designed by Lasse Marhaug with liner notes from the composer, Landscape and Voice is a radical proposition from one of the deepest thinkers in contemporary sound. https://blacktruffle.bandcamp.com/album/landscape-and-voice	2022	€23.50
TURNER, AARON & DANIEL MENCHE	NOX	LP	"Daniel Menche is a prolific musician whose work in the fields of noise and experimentalism displays both savage tactile expressionism and masterful studio manipulations. Aaron Turner is an equally prolific artist whose output veers from violent guitar architectures to textural meditations. Consequently, their collaborative album Nox could have been a brutish exercise in punishing frequencies and aural assaults. Instead, Nox is what Turner describes as “a combo of Danielʼs more free-flowing form of impulsive music making and my more contemplative composition.” Consisting of one lone track over the course of two sides of an LP, Nox uses its allowance of time to patiently wind and unravel around Mencheʼs intuitive and free-associative vocal and drum treatments. Manipulated and wrought to the point of abstraction, this spontaneous underpinning served as the narrative backbone to Turnerʼs orchestral vocal arrangements. Over the course of the year-long development process, the two musicians maintained a continual dialogue on the direction of the album, taking turns adding their accents and embellishments to the composition. Field recordings, found sounds, and auxiliary instrumentation fleshed out the recording until Nox developed into a final ruminative experience. Menche and Turner had previously worked together on the Mamiffer/Menche collaborative album Crater, though Nox bears closer sonic relations to other endeavors in both artistsʼ canons. One can hear vestiges of Mencheʼs more percussion-based albums like Concussions or Turnerʼs more ethereal vocal-based work with Jodis on their most recent offering. And while the tactics and tools used for creating the album are very much of the modern age, the duo conjure the timeless elements of the transcendental hymns of Arvo Pärt or the tonal clusters of György Ligeti through their patient, economical approach. Ultimately, Nox creates a lush, inviting, and deeply dimensional world that belie the cold basements of Portland, OR and Vashon, WA where it was slowly brought to fruition. LP edition of 400 copies. The LP is housed in a letterpressed jacket designed by Daniel Castrejon with photography by Faith Coloccia. Turner and Menche worked over a period of 2 years to complete the album using voice, field recordings, electronics, guitar, etc. The album was then mixed by Mell Dettmer (Earth, Eyvind Kang, Jessika Kenney, Sunn0))), etc)." sigerecords.blogspot.de	2017	€23.00
TV POW	Powerful friends and devoted lovers	do-CD	"first part of a 4 cd remix spectacle with about 60 artists remixing tv pow's album "friendship patrol" which itself contained more than 60 short tracks. the first 2cd-set contains remixes from: oren ambarchi, motor, boris hauf, thymme jones, otomo yoshihide, m behrens, ken brown, vadim sprikut, toshimaru nakamura, ernst karel, leif elggren, ancient greeks, tu ´m, 7000 dying rats, sutekh, burkhard stangl, greg kelley, jazzkammer, drillchop 9, olivia block, panicsville, mike shiflet, amnon wolman, koura, stilluppsteypa, freiband, stephan mathieu, vertonen and reynols. second 2cd-set will be out early autumn 2004."[press release]	2004	€14.00
UGGERI, MATTEO & MOURNING DOVE	Does the Moon not Dream	CD	Elena Botts is American, lives in Washington DC. Matteo Uggeri is Italian, lives in Milan. When this album was conceived, in 2018, she was 22, he was 44. Three years after its conceiving, the album is now released in Spring 2021 by the historical ADN records (adnrecords.com), that since 1984 has published artists like Pascal Comelade, Merzbow, Pierre Bastien, Tasaday, Riccardo Sinigaglia, Cranioclast, Sigillum S, Christina Kubisch, Third Ear band and many others… Elena's works under her moniker Mourning Dove are primarily built on her voice and poems, Matteo's ones are usually instrumental releases in the so-called field of 'modern classical/experimental'. This joint album was made in an extremely spontaneous way, sending files across the Atlantic ocean: Elena recorded a set of spoken poems and three sung pieces, often outdoor, walking in streets and fields, and Matteo arranged them all grabbing mostly acoustic sounds often provided by his long time collaborators. Due to the strong and at the same time delicate timbre of Elena's voice, in spite of the relatively wide set of instruments, the album sounds minimal and rarefied, as a long gentle suite of sparse notes and occasional rhythms driven by female vocal chords. Mourning Dove (Elena Botts): lyrics, vocals. Matteo Uggeri: sounds, composing and mixing. My Dear Killer: acoustic and electric guitar. Andrea Serrapiglio: cello. Francesca Stella Riva: trombone. alessandro sesana: trumpet. Maurizio Abate: mandoloncello. Franz Krostopovic: piano and violin. Alberto Carozzi: electric guitar. Cristiano Lupo: bass. Made in Washington DC and Milan in summer 2019. Mastered by Marco Milanesio in January 2021. Photos by Elena Botts. Artwork by Matteo Uggeri. https://matteouggeri.bandcamp.com/album/does-the-moon-not-dream "Dass die Zusammenarbeit zwischen Matteo Uggeri und der Autorin Elena Botts alias Mourning Dove so spontan zustande gekommen ist wie es in den Liner Notes ihres gemeinsamen Albums “Does The Moon Not Dream” heißt, mag man sich kaum vorstellen. Meist sanfte Sounds verschiedener Umgebungen und Klangfarben, die bei genauerem Hören eine vielfältige Stimmungspalette entfalten, entspanntes Fingerpicking, stimmungsvolle Pianoparts und wehmütige Streicher, in ernsten Tönen vorgetragene Poesie und ein jazzig eingefärbter Sopran: All dies und einiges mehr fügt sich derart passgenau zum Narrativ eines musikalischen Hörspiels zusammen, dass man die dirigierende Hand einer alles im Griff habenden Personen vermutet. Umso schöner, wenn sich so etwas spontan ergibt. Die ruhige Gangart, mit der das Album startet, sollte nicht hinwegtäuschen über eine unterschwellige Aufgewühltheit, die nie ganz aus der Musik verschwindet und mit einem gewissen stoischen Charakter in den Dialog tritt. Im Opener, dessen Titel “Modular” bestens zu seinem kollagenhaften Charakter passt, gibt entspanntes, fast pastorales Gitarrenpicking den Hintergrund für den Sound zielgerichteter Schritte, für ein sanft leuchtendes Dröhnen, das bei genauerem Hinhören eher aufgeweckt als entspannt anmutet – und für eine fragile Stimme, die fast erschöpft eine Wahrnehmung beschreibt, die die so fragmetiert anmutet wie die Puzzelteile der Musik. Alles wirkt auf spröde Art organisch, auch der wie von einer alten Shellackplatte anmutende Sporan, der in “Ghosts of Sand” überleitet und diesem – entrückt, verschwommen und abgehoben im besten Sinne einen weitaus songhafteren Zug verleiht. Jeder der Tracks ist voller kleiner klanglicher und atmosphärischer Ideen: Auf Samples basierende Perkussion, die durch manche Stücke peitscht, mäandernde Sounds aus dem Fundus indischer Instrumente, glasklare Pianotupfer, Wind und quietschende Türen. Gedämpfte Bläser in “Bushwick”, Straßensounds in “An eleven Hour Sleep”, tropfendes Nass in dem berührenden “Mare Aperto” und “Bella Ciao“, von dem ich nicht sagen kann, ob es mehr als nur von Titel her auf das bekannte Partisanenlied bezug nimmt. Orientalisierende Gitarren in “Our Lady” von keinem geringeren als My Dear killer. Dann immer wieder die erschöpfte und doch resolute Rezitation. Viele dieser Details kehren in der einen oder anderen Abwandlung leitmotivisch wieder, und dies ist nur ein Grund, das Album als Ganzes, als gelungenes musikalisches Hörspiel zu rezipieren." [Uwe Schneider (African Paper)]	2021	€13.00
ULHER, BIRGIT / BÜTTNER, GREGORY	Tehricks	mCD-R	"Gregory Büttner plays sounds from a computer through various small speakers, which Birgit Ulher uses as mutes for her trumpet. This way the trumpet sounds and the electroacoustic sounds are modulated by the acoustic resonance chamber of the trumpet. The trumpet is simultaneously a transmitter and a receiver. Recorded January 2009 by Büttner/Ulher at Birgit‘s flat. Mastered by Guy Saldanha. Tehr: 7‘33 Eri: 5‘36 Rix: 6‘01 About the Artist: Birgit Ulher studied the visual arts, which still has an important influence on her music. Since the early eighties she has been involved in free improvisation and experimental music.Since then she has ‚established a distinguished grammar of sounds beyond the open trumpet sound‘ (jazzdimensions.de). Her work includes solo-performances, as well as dance-projects, beside her working-groups she plays often in occasional / once only groupings and collaborates with improvisers all over Europe and USA. Current projects include the solo project ‚Radio Silence No More‘, duos with Ute Wassermann, Gino Robair, Damon Smith, Heiner Metzger, Gregory Büttner, Nordzucker (with Lars Scherzberg and Michael Maierhof) and the trio with Lou Mallozzi and Michael Zerang. www.birgit-ulher.de www.myspace.com/birgitulher Gregory Büttner studied communication design in Hamburg, with a specialization in audiovisual work. Since 2000 he got his focus on soundart and electroacoustic compositions. In 2004 he launched his label 1000fussler which releases experimental music in small editions. In 2001 he founded his duo für diesen abend together with Stefan Funck and often accompanied by visuals from Katrin Bethge (overhead-projections). He works together with artists like Rhodri Davies, Birgit Ulher, Chris Heenan, et al.. His music released by labels like 1000füssler, Firework Edition, Anthropometrics/Aufabwegen, Grünrekorder, Compost and Height. www.gregorybuettner.de www.myspace.com/gregorybuettner" [label info] www.1000füssler.com	2010	€6.00
UMPIO & IRR.APP.(EXT.)	Observation affects the Outcome	CD	"First ever collaboration between these finnish and american soundartists, collaborating by mail, incorporates both of their styles, interwined with some kind of disorienting and intricated attitude. Electroacoustic treatments applied to harsh noise and atonal ambient parts, producing a tapestry of disturbing and psychedelic soundscapes. Release date is 28th January 2013. Limited edition of 500 copies in jewelcase." [label info] www.monochromevision.ru	2013	€12.00
UNDARA	Traveller	CD	"The Undara project is a loose constellation of musicians and artists hailing from Portugal. Setting an interdisciplinary path through musical arcanum and artistic obscurity their journey of discovery leads into a dark and unknown wilderness, tripping over smoldering rocks and stumbling over the very roots of mankind's origin. Hear the distant call of the untamed lands to which mankind rarely chooses to venture. Comes in a jewelcase with a 8-page booklet." [label info] http://gterma.blogspot.se	2012	€13.00
USENBENZ, ANDREAS	Bells Breath	LP	“Bells Breath” transforms the tolling of the bells in the Ulm Minster into a work of sound art. This project by Andreas Usenbenz and Dorothee Köhl was created for the 125th anniversary of the minster spire’s completion and was presented in the form of an audio installation inside the minster in the fall of 2015. There are 13 bells in the bell tower, ten of which are in use. Each bell has its own size and pitch, and each has its own function. “Bells Breath” strips away that function, creating a new form of auditory experience. The moment of the bell tolling has been recorded, the tone stretched and the individual tones are layered on top of each other. The sound installation was situated on the ground floor inside the minster, beneath the bell frame. A platform for people to step or sit on created a spacial frame of reference, the sound was triggered by the listeners by pressing a button. When dealing with this work, it is helpful to have a brief look at Minimal Art. In the early 1960ies, a new understanding of art was being developed in contrast to abstract painting. Part of it was an abandonment of categories that had been considered essential until then, like the aesthetic experience or the artists signature style. Industrially produced materials were now being used, every day objects were stripped bare of their function. Experiencing art turned into an experience of self-awareness on behalf of the audience. Sculptor Tony Smith was aware of the importance of this type of experience as early as the mid-fifties. He took his students on a nocturnal journey on the still uncompleted New Jersey Turnpike. Driving down the road lacking crash barriers and road markings didn’t serve any functional purpose. Instead, the dark and the passing industrial complexes appeared in a different state of perception. It’s this experience that Smith regarded as having an artistic quality. This kind of quality can be described further using the “Mirrored Cubes” by Robert Morris. The installation consists of four mirrored cubes. They are positioned in a square, one edge length apart from each other, therefore eliminating the element of composition. The surface, as perceived by the audience, is only a reflection of the surroundings and of itself. Artwork and location become an inseparable one. What the audience experiences is an amplified perception of itself and of the spacial situation here and now. The here and now are two elements that appear on different levels in “Bell’s Breath”. The work strongly relates to the location, the tower hall right beneath the bell frame. At the same time, the sounds’ original function is being eliminated by prolonging and layering the different sounds. This, together with the audience’s presence in the space creates a new experience of perception. releases February 17, 2017 All field recordings, sound design & compositions by Andreas Usenbenz, between march 2015 and may 2016 The music is based on field recordings of 10 different church bells installed in the Minster of Ulm. Usenbenz recorded the bells using a wide spaced A – B pair with omni directional DPA microphones, a Sennheiser ORTF setup and contact microphones mounted directly to the bells or their direct environment. The Bells where rung by the Sacristan. Additionally, Usenbenz played them with different props to tease very specific sounds out of the bells. No additional sounds were used in these compositions. Produced at Klangmanufaktur Artwork by Chris Corrado Mastered by Stephan Mathieu Cut by CGB at Dubplates & Mastering, Berlin	2017	€16.50
USENBENZ, ANDREAS & PETER SCHUBERT	Plaque	CD	Sound art. In an essay for the Goethe Institute dated 2009, Carsten Seiffarth (of Singuhr gallery, Berlin), called sound art a “new art form”. An art form that is now established but still only plays a marginal role in the art world and in exhibitions. Everybody who visits galleries and art fairs regularly will concur. Why is that? For one, many sound artworks are intricately connected with the locations they are presented in, which is usually not where art fairs and exhibitions take place, but locations whose atmosphere and history are to be amplified or to be communicated. Or the locations have been specifically constructed, like the Philips pavilion at the world expo in Brussels in 1958, for which Edgard Varese created his Poème électronique. So, works of sound art are often tied to a specific event as well, like “Plaqué”, which has spacial as well as historic roots. When the event is over, the relevance of many sound artworks may fade away to a certain degree. In addition, the presentation of sound art often proves difficult in traditional galleries or art fairs. These are usually not designed to adequately present live performances or sound art in general, because of sound art’s predominant element, sound, is usually not part of the art presented there. In fact, there are only very few galleries that specifically deal with sound art. While sound installations and more classically laid out compositions may come with a certain potential for longevity (or repeated resurrection), a lot of artists are producing works that are very ephemeral, except for archival recordings, of course. Performed works are often placed on the side stages of music festivals, or they may emerge within a tightly set frame of time and context, outside of which only a documentary shadow remains. Collectors are struggling with sound art as well. Like with video art, it is not easy to get used to the idea that you may be purchasing a work which can be copied in unlimited numbers at no costs. That’s precisely what a recorded piece of sound art is. This parameter, as well as the performance aspect of sound art, seems to put it on a level with music. But is that appropriate? A question that could be asked in the case of “Plaqué”. Is it “just” an archival recording of a long gone performance? Like Varese’s Poème électronique, “Plaqué” was created for a specific event, the 200th birthday of Daniel Straub, whose endeavors in Geislingen shaped the small German town for decades to come. He was involved in the construction of the railroad line and founded a company called WMF, which produces kitchenware and cutlery to this date. Usenbenz and Schubert traced Straub’s history in the Geislingen of our present. The collected field recordings were presented as a live performance, which served as a preliminary work and a basis for the work now published. “Plaqué” is not just a recorded performance, it is an advanced work, a new composition containing additionally recorded material. It gently loosens its spacial and temporal roots without losing its contextual base. The result is strangely fascinating and universally relevant. It is an independent piece of sound art, which deserves the same form of attention and appreciation as a painting or a sculpture. Even if it’s not a unique piece, entering one art collection, but an edition that will be enjoyed by 200 collectors. peter schubert • field recordings • electronics • microgranny analog fx • ableton live • fieldscaper • no-input mixer andreas usenbenz • field recordings • borderlands • samplr • ableton live dubplates • cassettes • microkorg • patchblocks recording • editing • mastering • klangmanufaktur ulm photography • artwork • andreas usenbenz www.klanggold.net	2017	€10.00
VANTZOU, CHRISTINA	No. 4	LP	Belgium-based composer Christina Vantzou's fourth full-length for Kranky ventures further into the uniquely elusive and evocative mode of ambient classical minimalism which has become her signature: a fragile synthesis of contemplative drift, heady silences, and muted dissonance. In regards to the new album she speaks of focusing particular attention on the effects of the recordings on the body, and of "directing sound perception into an inner space." No. 4 took shape across roughly two years, incorporating a diverse array of musical and conceptual collaborators, including fellow Kranky artists Steve Hauschildt and John Also Bennett (of Forma) as well as Angel Deradoorian (ex-Dirty Projectors), Clarice Jensen, Beatrijs De Klerck, and members of Belgium's Echo Collective. During the creation process Vantzou wanted to "blur lines of hierarchy," and thus allowed all ensemble members and technical assistants to add or delete elements. Despite such a spectrum of input the eleven tracks feel distinctly cohesive, weaving elegant textures and resonant open spaces within a twilit landscape of eclectic instrumentation: piano, harp, vibraphone, voice, strings, marimba, synthesizers, gong, and bells. christinavantzou.bandcamp.com/album/no-4	2018	€20.00
VAZHES	Urja	mCD-R	"Conceptual mini-album of Vazhes featuring leading Russian post-industrial artists Vresnit и Akpan. A voyage to a lost among the boggy forests Komi-Permyak village of Urja located near the huge site of Kuregkar ("hen town") of a mythic people of Chud' (Vazhes) on shore of Nylva ("girl's water") river. First composition makes it's path through the twilight of sundown foreboding night. A mystery of shadows, calm flow of water through the grass of fields. Evil rituals of black wizards can be heard in the night darkness of the second track, sparkles of fire flying high in starry sky, shades moving in a rhythm, gloomy incantations, voices appealing to mysterious beings. Daybreak in Urja. Sunlit fields, haystacks covered with morning dew, stubborn and viscous fog hiding in forest borders and river valley, singing birds and bawls of cattle following a shepherd playing horn. Beautiful material in nice packaging: handmade cardboard cover with three photos. [press-release] www.operatorprod.narod.ru	2010	€8.00
VELEZ, DAVID & BRUNO DUPLANT	Moyens Fantômes	CD	With the obsolescence of storing and reproducing media devices, a lot of information becomes unavailable and inaccessible but does it mean it has ceased to exist as information? What happens with a film whose last copy is in Beta tape when it can no longer be reproduced? On the second semester of 2014 Bruno Duplant and David Vélez started to dialogue about this subject and decided to compose a piece that points out to these questions presenting them as the construction of a place. We usually figure out that a place and the objects in it produce the sounds that we listen in there but in sound composition for the listener, the sounds build a place and the things inside it, a place that he inhabits with his imagination. The two artists selected to work with sounds stored in media that is no longer available like VHS, Beta, floppy discs, zip drives, laser disc..etc… media that is becoming less and less accessible and that at one point could be unable to reproduce. Duplant and Vélez were expecting that these sounds could build a place that were eerie and bleak, not really pleasant and where the listener could probably feel vigilant and uncomfortable as if in presence of something that he won’t perceive but that is actually there. (Lina Velandia, August 2015) www.unfathomless.net	2016	€14.00
VERNON & BURNS MEETS LIED MUSIC	Lost Lake	LP	Lost Lake sees the return of the collaborative project between sound art duo Vernon &: Burns (Mark Vernon and Barry Burns) and Lied Music (Luke Fowler and John W Fail). It is a sequel to the long-sold out LP Lied Music vs.Boy-Band Tax Returns (released on Ultra Eczema, 2006). This LP merges musique concrète compositional approaches with absurdist improvisational strategies. The four artists met in Glasgow where they recorded a series of sporadic improvised sessions using a diverse array of sound-making instruments (amplified toys and objects, guitar, analogue synths, percussion, squeeze box, field recordings and found tapes). Improvised sessions from 2008 were subsequently manipulated, tortured and caressed, both individually and collectively, into a series of highly idiosyncratic song-forms and sound collages. https://vernonandburns.bandcamp.com/album/lost-lake "The latest entry in the Vernon & Burns catalogue sees this Glasgow duo teaming up with Lied Music, the duo of Luke Fowler and John W. Fail. Lost Lake (SHADAZZ SHA.11) is one of the stranger and darker emissions from these talented creatives, particularly if you care to compare it with the sometimes more playful assemblages of V&B, or the deliciously offbeat melodic avant-pop tunes created by Fowler as part of Rude Pravo. At first spin the record is a near-bewildering toasted-cheese sandwich, a concoction which contains at least a zillion ideas apparently thrown together any which way. Faced with such an array, discerning avant-LP listeners may want to reach for The Faust Tapes as one touchstone, but another credible precedent is the unearthly Bladder Flask LP 1, that ne plus ultra of cut-up sound art put together by a teenaged Richard Rupenus as if possessed by some fevered desire to surpass the worst excesses of the lunatic fringe end of the United Dairies catalogue. But the Bladder Flask release had the underlying sinister aim of sending all those who heard it mad, through highlighting the complete absurdity and futility of everything. Lost Lake has a more benign mission, thankfully. The album has been very carefully crafted, using sets of recorded improvisation sessions produced by the four players, aiming to resculpt the near-chaos of that source material into a coherent structure. Within that structure, fractured songs and equally fractured stories emerge; yes, a scrambled form of a radio listening or cinematic experience, which is an effect Vernon & Burns have striven for with a good deal of their work (and have produced many items expressly in radiophonic mode). As to the cinematic, Fowler is also a film-maker. There is a logic to this scheme, but it is hard to follow and weaves its way around in a highly secretive and intuitive fashion, like an errant underground stream full of eccentric fish and darting river-insects stained in unnatural colours. We could account for some of this quirkiness by pointing out that all four creators were involved in the refashioning process, rather than a single editorial hand behind the editing knife; one can imagine the clashing dynamism generated by four powerful personalities, each of them bending the path of events in their favour. Additionally, the source material itself was not exactly straightforward music to begin with, but created using the now-virtually-standard set-up of the modern improviser, that is amplified instruments, toys, found tapes, field recordings, and live electronics. From this rich stew, voices and tunes emerge from amid a varispeeded and highly layered humid aggregation of extremely strange sounds. And yes, like the Rupenus LP, it is quite absurdist, but I like to think it’s a fun and cartoony absurdity, rather than bleak and Beckett-like. That said, this aural bric-a-brac crawls out from a dark attic of the mind, and is as much an unsettling listen as it is entertaining. Corin Sworn’s cover art encodes all the above information quite perfectly. Using collage technique (naturally), it depicts a figure sitting on a sofa surrounded by hideously “tasteful” drapes and furnishings. This image of bourgeois normality is thoroughly disrupted by replacing the outline of the figure with fragments of urban horror and machinery, then further scrambling the visual schema with concentric rings and diagonal bars, suggesting the power of the aural emanations on the record. The album is, we are told, a sequel to a 2006 release called Lied Music vs Boy-Band Tax Returns, which we reviewed in our Vinyl Viands issue." [Ed Pinsent, Sound Projector online, December 15, 2012]	2011	€16.00
VIBRACATHEDRAL ORCHESTRA	Dabbling with gravity and who you are	CD	Aufnahmen von 2000, endlose v.a. sehr perkussive Sessions, ein kreatürliches akustisches Durcheinander mit vielen Blasinstrumenten, toll wie alles plötzlich einen folkig-orientalischen Anstrich bekommt, 11 Stücke oder Indexe, fast 61 Minuten, das ganze hat Proberaum-Charme, wurde ja auch in der KÜCHE von MICHAEL FLOWER aufgenommen.. "New pressing of long out of print title by the classic quintet of Neil Campbell, Bridgit Hayden, Julian Bradley, Michael Flower, and Adam Davenport. Assembled from recordings of their weekly sessions in Michael's kitchen, the tracks here represent the joyous, celebratory side of the VCO - all forward motion, massed strings, percussion, horns, and little instruments rocketing forward in a swirl of sound. Compared to the more austere sounds of recent CD's like "Lino Hi" and "Versatile Arab Chord Chart," the tracks here take off from where the loose hippy chant and drum action of collectives like Amon Duul intersects with the ploygot instrumental approach of mid-60's Sun Ra (ref "Exotic Forest," "Shadow World," etc). "There is no chord formation that can be planned which creates elation or sadness, or any art which is profound enough to change anything fundamental about a person. There is just a resonance around us which musicians/artists are using or not using" - Bridgit Hayden on the VCO" [label info] www.vhfrecords.com	2002	€13.00
	Versatile Arab Chord Chart	CD	Zweite CD der drownig-dronigen Impro-Combo aus UK... "Versatile Arab Chord Chart is the second full-length outing by the quintet of Neil Campbell, Michael Flower, Julian Bradley, Bridget Hayden, and Adam Davenport. Like their UK cousins and fellow VHF recording artists Sunroof!, Vibracathedral Orchestra usually works from a base of modal improvisation. Led by Campbell's sawing violin, tracks like 'Wearing Quid Frock' and the epic 'Japan Banjo' build up arcs of lingering overtones beneath an undercurrent of melody. They cut the drones in their life with extremely effective bursts of near rock, in a style reminiscient of the pre-Nico Velvet Underground (circa 1966 or so). The band's combination of clattering percussion, droning strings, and considerable sense of where to put the 'groove' on tracks like 'Catching Loners With Blank Arms' makes them unique among their peers. Versatile Arab Chord Chart follows the band's previous Lino Hi outing on Giardia and a series of intriguing and extremely limited self-released titles, including the currently available Filling Sacks With Leaves 10-inch. New work for VHF and live work around the UK are planned for the near future, if there is one." - label press release. www.vhfrecords.com	2000	€14.00
VIDNA OBMANA & PBK	Monument of Empty Colours + Depression and Ideal	do-CD	Dirk Serries is an extremely prolific and creative artist who has a huge amount of music composed solo, under his own name or under the name VIDNA OBMANA. In addition to solo recordings, Dirk often collaborated with other artists, thus introducing a new quality to his own music. While implementing the next installments of our informal series, we also published a few of them; for example "Traces" in collaboration with David Lee Myers, or "The Shape of Solitude" with Serge Devadder. This time we present the effect of the Belgian artist's musical collaboration with Phillip B. Klinger, better known as PBK. Gentlemen, in the past, they undertook joint initiatives several times. After all, they have a lot of material in common. We chose the two most expressive of them: "Monument of Empty Colours" and "Depression and Ideal". In both of these materials, many similarities can be found, both in terms of composition and sound. Thanks to this, they give the impression of a coherent, even monolithic whole, built of smaller, expressive parts. That is why they were published on two separate CDs, but enclosed in one digipack, with one graphic design connecting two parts of a larger whole, presenting music created in a specific period of time. Therefore, both discs are filled with tracks characterized by a raw and dark sound, close to the achievements of Cold Meat Industry artists, fitting into the convention of post-industrial dark ambient, which we associate with publications from the Scandinavian label. In addition, it is worth noting that, especially for the needs of this release, the materials from both sessions have been re-mastered and provided with a completely new graphic design. Edition on two CDs published in a limited edition of 400 copies. Vidna Obmana: electronics, loops and tapes. PBK: electronics, tape MONUMENT OF EMPTY COLOURS was recorded and mixed between November 1988 and March 1989. Originally released on The Decade Collection, 1989. DEPRESSION AND IDEAL was recorded and mixed in 1989. Originally released on PBK Recordings & Freedom In A Vaccum, 1989.	2022	€16.50
VOGEL, MICHEL	Une petite musique de Nuit	LP	"PLANAM proudly presents the first LP by the artist and sound sculptor Michel Vogel. Born in 1941 in Strasbourg, France, Michel Vogel artistic activities start in 1960 when, as a painter under the materic influences of Antoni Tapies and Jean Dubuffet, his mineral and sound experimentations built a universe influenced by free jazz, extra-European music and Olivier Messiaen. His researches develop with new sculptures and the creation of his own resonating metal instruments. His friends of the minimalist group, and specially the Fluxus artists, support and push him to carry on his acoustics explorations while his sonic creations get closer to the music of John Cage, Philip Corner, Morton Feldman and Giacinto Scelsi. For this first project PLANAM selected, in direct collaboration with the artist, an improvisation for large size gongs prepared with metal rods, little gong, Chinese cymbal, caoutchouc ball, titled Une petite musique de nuit. Recorded live with no over-dubbing the night of January 18th, 2002. A very deep and alfa-wave oriented listening that will make you discover very intimate as well as stellar new sonic dimentions. Edition limited to 300 copies." [label info]	2009	€19.50
	Ronde Matutinale a Amilis / Berenice	LP	"PLANAM proudly presents the second LP by the artist and sound sculptor Michel Vogel. Born in 1941 in Strasbourg, France, Michel Vogel artistic activities start in 1960 when, as a painter under the materic influences of Antoni Tapies and Jean Dubuffet, his mineral and sound experimentations built a universe influenced by free jazz, extra-European music and Olivier Messiaen. His researches develop with new sculptures and the creation of his own resonating metal instruments. His friends of the minimalist group, and specially the Fluxus artists, supported and pushed him to carry on his acoustics explorations while his sonic creations get closer to the music of John Cage, Philip Corner, Morton Feldman and Giacinto Scelsi. After the deep cosmo night music of 'Une petite music de nuit' (Vogel first LP) PLANAM decided to issue two more early-morning oriented realizations, or 'Ronde mattinale à Amillis' and 'Berenice'. These alfa-wave improvisations for 'prepared' gongs and self-built metal instruments, selected in direct collaboration with the artist, will make you enter into luminous sonic dimensions. Edition limited to 270 copies with full colour space cover and inner sleeve." [label info]	2011	€19.50
VOICE OF EYE	Seven directions divergent	CD	Endlich das erste offizielle "volle" Album nach der Wiederbelebung des Ethno-Drone Paars, die stets alle Instrumente selber einspielen. Sie erweitern hier ihren Transzendental-Ambient mit psychedelischen und Song-orientierten Einflüssen, es wird gesungen, alles versinkt in wattigen Echo-Effekten und halluzinogenen Klangpulsen. Die sieben Stücke wirken in der Tat wie sieben verschiedene Richtungen ihres neuen Musik-Kosmos. Perkussive Bass-Gerüste bilden oft die Basis für die höchst harmonischen, warmen Stücke, die einen stark indisch-orientalen Touch aufweisen. Wunderbar z.B. das fünfte Stücke OM SHANTI, ein dronig-sanft & sphärisch-melancholisches Sehnen... engelshafte Gesänge und butterweiche Instrumentalparts bilden oft einen fast ozeanisches Flair, das letzte Stück "Transformational Birth " ist ein grossartiges schamanistisches Geister-Drone-Stück (18 Minuten) mit unheimlicher Sog-Wirkung !! Zwischen Transzendental-Pop und drone-basierter Psychedelic, VOICE OF EYE's Musik bleibt faszinierend spirituell & kontemplativ ! "Seven Directions Divergent (2009) is the latest release by Taos, New Mexico based artists Voice of Eye. Taking over a year to produce, Seven Directions Divergent is the third CD to be released on Conundrum Unlimited, and the fifth full-length Voice of Eye CD. As artists experimenting with sound we have been inspired by many different styles of music and noise. Seven Directions Divergent pays homage to some of the diverse musical sources that have influenced us over the years from traditional Sanskrit chants to Steve Hillage to cute Euro pop to shamanic transcendence. This is an ambitious project melding many different sources together with the ethereal beauty and yearning magnificence you expect from Voice of Eye. This CD transports the listener along a narrative history of our personal journeys of change and transformation as told through the medium of sound. Seven Directions Divergent was mastered by award winning engineer Jon Gold for the best sounding Voice of Eye release to date. Comes in a Digipack with beautiful full color artwork by Jim Wilson. Voice of Eye formed in 1991 out of the ashes of experimental bands Esoterica Landscapes 7 and Cruor. Through Voice of Eye, members Bonnie McNairn and Jim Wilson explore profound aspects of consciousness as the music is shared as a tool for entering different states of consciousness. The motivation behind forming Voice of Eye was to connect to a deeper truth we first sensed within our music. This unformed presence first revealed itself to us through music and has continued to manifest taking shape throughout our life’s journey leading to profound mystery. Voice of Eye’s modus operandi is to take sound sources that are acoustic in origin, then process them through little black boxes to warp time and widen sonic perception. Voice of Eye’s sound shifts from gentle soundscapes to primal wrenching malevolence with such ease that the listener is unaware of the transition until it is too late and they are fully immersed in the voyage. Voice of Eye took a hiatus from music in 1997 to build an off-the-grid sustainable home and studio in Taos, New Mexico. The process would take the next ten years. The result is an enormous sculptural free flowing work of art built entirely by the hands of Jim and Bonnie. Living in the open and empty spaces of the desert had the additional effect of deeply connecting them to the truth of their being as begun through music. The desert is the fire that burns away everything. Both members are now focused on the healing arts. Their journey has transformed what was begun through music into a way of life. Please see www.voiceofeye.com and www.myspace.com/voiceofeyemusic for discography, photographs and more information" [label info] www.voiceofeye.com "Since some time Jim Wilson and Bonnie McNairn, together known as Voice Of Eye are back. In 1997 they stopped creating music to 'build an off-the-grid sustainable home and studio in Taos, New Mexico', which took them ten years to build. Since their return their have been a couple of releases, which saw them return to their fine of lengthy, warm ambient electronics with great emphasis on the psychedelic quality of the pieces. Maybe therefore the opening piece here on their twelfth CD 'Seven Directions Divergent' is quite a surprise: its almost popmusic, slow rhythm, e-bow on the guitar, and Bonnie McNairn on some heavenly voice trip, and sounding a bit like Cosey Fanni Tutti. Laid-back popmusic. Almost. This is continued in the following piece 'Where Are You?', which is, me think, even better. Voice Of Eye changed that radical? Hard to believe, and no, they didn't. At least not to that extent. Throughout it seems indeed that elements of popmusic have been brought in, without losing the original ambient sound. 'Transformational Birth', the piece that closes this CD is one of those typical lengthy Voice Of Eye ambient excursions. A bit without any sense of direction, sounds flowing about, like being in space. They drift in and out of the mix, without any synthesizers (according to the cover), like the real cosmic music thing. That makes this a great CD. Drifting, flowing in all pieces, bouncing back and forth towards the more 'pop' like tunes and lengthy, atmospheric excursions. A great album, I'd say, an excellent combination of both ends, making a very mature album. Great psychedelic music." [FdW / Vital Weekly]	2009	€13.00
	Anthology 2 (1992-1996)	do-CD	"Since a few years Texan group Voice Of Eye are back. Their various new releases have been reviewed before. But its the second incarnation of the group, a duo, which existed before from 1989 to 1996. They were pretty active back then too, with lots of releases, like CDs, cassettes, 7"s (for Drone Records among others) and contributions to compilations. Last year Vinyl On Demand already released a double LP of that older stuff, but now Troum's Transgredient label goes out even more, with a double CD of material from 1992 to 1996 (and makes it the first non-Troum release on the label). To say that Voice Of Eye play ambient music is not entirely true. Their music is indeed based on all things 'atmospheric', using an array of drone like sounds, percussion and the heavenly voice of Bonnie McNairm, but what sets Voice Of Eye apart from so many others is their free flowing sound, almost psychedelic, always full of sound effects (the reverb is hard to avoid here), widely meandering ab out. There is always a rough edge with Voice Of Eye that makes them a bit different from many other drone artists, which is perhaps due to the fact that they use many effects and maybe due to the fact that the recording medium is not the greatest. Also they use various bits of percussion, acoustic objects (one track is entirely made of bicycle wheels). Its great to have this collection of rare CD compilation pieces, 7" vinyl and long unreleased pieces - especially the very free floating space of 'Sonic Works Live Dress Rehearsal'. Two long CDs of highly weightless space music. Excellent stuff." [FdW/Vital Weekly]	2011	€10.00
VOISEY, VEN (V.V.)	Note	CD	"C.I.P. and crank satori are proud to announce their co-release of the first CD by v.v., "note." v.v. are the initials of Ven Voisey, a sound artist and sculptor from Oakland, California. "note" evolves as a series of meticulously crafted sound events drawn from myriad sources, including a dynamic range of hisses, crackles, and tonal hums, field recordings, electronics, and acoustic instruments. While his work has been placed in the same arena as artists such as Joe Colley (Crawl Unit) and Toshiya Tsunoda, Ven's deft composing skills and innate sense of sound elements clearly define him as an artist with a unique vision for realizing captivating and rewarding audio. Ven's previous titles on cassette and CDR has been met with critical acclaim; with the release of "note," C.I.P. and crank satori hope to introduce v.v. to a much wider and deserving audience." [label info]	2003	€13.00
VON EULER-DONNERSPERG, DITTERICH / FELIX KUBIN	NNOI#01	LP	NNOI#... In this series, the recordings and documents of the actors of the NNOI Festival gather and reveal the primitive anatomy of the NNOI that sinks onto the frosted glass of nature, like the printing ink unconscious in the letters of the newspaper. The design of the entire series is based on drawings by Frank Diersch - made for this project. forthcoming: NNOI#2: Rashad Becker & Robert Schalinski, NNOI#3: Asmus Tietchens & Frieder Butzmann, NNOI#4: Air Cushion Finish D.v. Euler-Donnersperg - side: unreleased tracks from his wild beehive. Felix Kubin - side: Felix Kubin accompanies René Clair‘s silent film »Entr’acte« from 1924 live with a new electro-acoustic soundtrack, which refers to the surreal choreography, the contrasts in content and the fast editing sequences of the film in rhythmic cut-ups. Rene Clair‘s film „Entr‘acte“ from 1924 is a real jewel of surrealism and is largely unknown to this day. The director radically experiments with cinematographic effects, provokes absurd exaggerations, which sometimes take on blasphemous proportions, and is not afraid to commit violence. The staff of actors is made up of famous artists such as Erik Satie, Francis Picabia and Marcel Duchamp, who, quite self-ironically, bounce through the image rather than stride. Men and women roles are reversed, a death procession turns into a roller coaster ride. The bizarre humor of the film also testifies, among other things, to the artistic daring of its time. Ditterich von Euler-Donnersperg »I hate long announcements now. Everyone writes something and brags about all kinds of information (especially celebrity names). Something has become completely uniform over time. I hate that. Simply state briefly: „The old gray gurnard from the Waterkant creaks and growls its funny and less funny ways ..“ GLÜCKAUF! Felix Kubin„I am a child living in the body of Juri Gagarin. He is empty like a corpse. His eyes move slowly like radars. First comes the idea then the technology. Children are angels, sometimes they fall into nothingness. I am Juri‘s ventriloquist.“ Felix Kubin, messenger of exploding lungs, lives and works against gravitation. At the age of 12 he started composing electronic 4-track music. His activities comprise futurist pop, electroacoustic and chamber orchestra music, radio plays, lectures, workshops and his label Gagarin Records. He has been involved with the noise project Klangkrieg, the communist singing group Liedertafel Margot Honecker and the tetchy teenage bands Die Egozentrischen 2 and x2. Frank Diersch - a German draftsman and painter. NNOI - festival for 12,756 tone music, obscure teaching & organ of the world-ventriloquist-lodge. https://www.facebook.com/donnersperg/ www.frank-diersch.de/ www.felixkubin.com www.nnoi.de https://www.youtube.com/watch?v=4YxuYqL52is https://www.facebook.com/nnoi.festival/ NNOI - festival for 12,756 tone music, obscure teaching & organ of the world-ventriloquist-lodge "In der NNOI Festival-Reihe werden Aufnahmen von Künstlerinnen und Künstlern veröffentlicht, die auf dem gleichnamigen Festival , “für 12,756 Tonmusik, obskure Lehren & Organ der Weltbauchrednerloge”, gespielt haben (u.a. werden noch Asmus Tietchens und Frieder Butzmann folgen). Den Auftakt macht eine Split-Veröffentlichung: Ditterich von Euler-Donnersperg, Sachwalter des Werkbunds, selbst so titulierter „Knurrhahn“ hat mit den zwischen 1996 und 2014 erschienenen “Pelzwurstliedern”, sogenannten „Reimdichtungen im Geiste Klopstocks mit elektronischem Zuspielband“, originellste, kaum kategorisierbare und von beißendem Humor durchzogene Lyrik herausgebracht. Felix Kubin hat neben zahllosen musikalischen Veröffentlichngen, auf denen auch immer ein absurder Humor deutlich wurde (im Presseinfo heißt es: „„I am a child living in the body of Juri Gagarin.“), eine ganze Reihe von Hörspielen produziert. Auf der ersten Seite befinden sich acht bisher unveröffentliche Stücke von Euler-Donnersperg, bei denen sich das Ausgangsmaterial, was bearbeitet wurde, nur erahnen lässt: „Krebs im Schlafrock“ beginnt mit einem ratterndem Loop, man hört zerhäckselte Stimmen. Einem Teil der Stücke haftet etwas Fragementiertes an. So auch bei „Kleiner Irrtum“ mit den hektischen Wassersounds, flirrenden Tönen und dann so etwas, das sich wie ein Echolot anhört. Auf „Mit geknickten Dichterschwingen“ hört man einen Loop, der an Jahrmarktsmusik erinnert, auf „Ein letzter großer Seher“ muss man zwischenzeitlich an Vogelkreischen denken. Die drei dann folgenden Stücke nehmen das Hektisch-Fragentierte zurück: „Verlangen, den Regenbogen zu fangen“ ist von ruhigen, kristallinen, flächigen Sounds durchzogen, die teilweise an ein Theremin denken lassen. Auf „Verknausertes Korn“ dröhnt und knistert es. Bei „Angenehm müde“ meint man das Ticken eines Metronoms zu hören, am Ende scheint eine bearbeitete Stimme aufzutauchen. Kubins Beitrag ist ein langes Stück, das als neuer Soundtrack für den 1924 entstandenen Stummfilm “Entr’acte” von René Clair konzipiert ist. Bei dem Film wirkten damals Erik Satie, Francis Picabia und Marcel Duchamp mit und gerade durch Clairs Einsatz von Effekten wie Zeitlupe und Überblendungen (ein Gesicht starrt einen aus dem Wasser an, ein Papierboot durchpflügt die Dächer von Paris) erzeugt Clair eine durchaus kurios-absurde Atmosphäre (Puppen verlieren ihre Köpfe, der Rock einer Tänzerin scheint eine Blume zu sein, ein Zauberer entsteigt einem Sarg). Der Track beginnt mit kuriosen Knarzen, Brummen, Loops, Fiepen, am Ende meint man ein Sample aus Coils “Things Happen” zu hören – in Passagen ist das durchaus nicht so weit entfernt von manchen Arbeiten Steven Stapletons und von der Stimmung und Herangehensweise ist das ein mehr als passender Soundtrack zu “Entr’acte”." [MG / African Paper]	2020	€20.00
VON HAUSSWOLFF, C.M. (CARL MICHAEL)	Squared	CD	"digipak designed by Richard Francis. Ltd. to 300 copies On “Squared”: Squared consists of two longer pieces. a) is a recording of a live performance executed at ZKM in Karlsruhe. It is an abstract piece of music that has evolved during the time the composer has performed live - since 1980. For the composer, generally, a live performance is always the "same thing", but listening to the early recordings it occurs that the music has changed drastically - only the format is still there. This is analogue to life in general - Earth looks the same like always, but, of course, it isn't. This piece won the Karl Sczuka Price Price in 2014. The piece is a co-production with ZKM \| Zentrum für Kunst und Medientechnologie Karlsruhe and Südwestrundfunk (SWR). b) is a piece using the sound generated from the soil in the German cemetery in Montevideo, Uruguay. With a technique called emission spectroscopy the composer has experimented with the frequencies that emits from the actual material in the ground and by pulling out samples from these recordings, organising them and looping some this piece became the soundtrack for the film "North Cemetery, Montevideo, Uruguay" directed by Jan Håfström, CM von Hausswolff and Juan-Pedro Fabra Guemberena. Biography: Carl Michael von Hausswolff lives and works in Stockholm, Sweden Since the end of the 70s, von Hausswolff has worked as a composer using recording technology as his main instrument and as a visual artist using video and still photography as well as other media. He currently curates the sound-installation FREQ_OUT (including artists like Jana Winderen, JG Thirlwell, Finnbogi Petursson, Anna Ceeh and others) and collaborates with artist Leif Elggren, film-maker Thomas Nordanstad, EVP re-searcher Michael Esposito and author Leslie Winer. He has exhibited in documenta, Kassel, the biennials in Venice, Moscow, Liverpool, Istanbul, Sarajevo etc and in Rijeka, Stockholm, Nicosia, Tokyo, London, New York etc. His music has been played in festivals such as Sonar (Barcelona), Red Bull Adademy, CTM (Berlin), L’audible (Paris), el niche Aural (Mexico City) etc. and released on record by labels alike RasterNoton (Berlin), Touch (London), Laton (Wien), auf abwegen (Cologne), iDeal (Göteborg) and MonoType (Warszaw). www.cmvonhausswolff.net" [label info] www.aufabwegen.com	2015	€13.00
WATERCOLOURED WELL	Arsonist's Rebirthday Audition	CD	"This is debut album of the german band consisting of various artists who are involved into the experimental music scene since 80s, each one is quite well known through own activity, but for this album, they gathered altogether for the first time. Seven improvised tracks are recorded in the best way of post-industrial jam sessions of the past. Release date is 10th June 2012. Limited edition of 500 copies in jewelcase." www.monochromevision.ru "The album "Arsonists Rebirthday Audition" Water Coloured Well is of one different order. Originally from Germany, but with another musical intent. Seven musicians and a visual artist came together in the Walpodenakademie in Mainz and went together to work without rules and without purpose. The result are seven improvisations and some drawings.Also here the musicians do not play over the top and are inspired by the multitude of angles and sound capabilities and achieve a surreal atmosphere. The drawings of Barbara Rössler are dynamically and related to the underwater life and not earthly. The music has the same intension. Not of this earth, but somewhere far away, where people are free to make music as they want. Two beautiful releases, highly recommended." [JKH/Vital Weekly]	2012	€12.00
WATKINS, CLINTON	Raaswater	CD	“In 1871, Thomas Baines, on his way back from visiting Lobengula and the Tati Goldfields, crossed the Limpopo on Mmabolela, and camped near the “Raaswater” where the Limpopo tumbles over granite rocks polished smooth by the passage of water over thousands of years.” www.mmabolela.co.za/history Raaswater is a seamless album of compositions using sound recordings made whilst participating on the 2018 Sonic Mmabolela residency for sound artists and composers in the Limpopo province of South Africa. With a small group of likeminded people led by Francisco López & Barbara Ellison, I spent countless hours exploring the dynamic environments of the Mmabolela reserve by walking, resting, listening, interacting, experiencing and recording a plethora of environments, objects, phemonema, structures, fauna and phyla unique to the area. Raaswater is a personal aural reflection depicting a rare, isolated and complex sonic environment rich with life, death and enlightenment. (Clinton Watkins, 27 November 2019) LOCATION : Mmabolela reserve, Limpopo, South Africa. Written and produced by Clinton Watkins 2020 @ small window studios,Tāmaki Makaurau Auckland, Aotearoa New Zealand. ~ Special thanks to : Francisco López, Barbara Ellison, Neil Lowe, Mark and Lesley Berry, Roché van Tiddens, Andy Martin, Jun Mizumachi, Luke Pearson, Kim Foscato, Steve Norton, Jim Speers, Tim Checkley, Starkwhite Gallery, Auckland University of Technology (NZ), my wife and children AD, Moss & Winter, and the environment of Mmabolela. https://unfathomless.bandcamp.com/album/raaswater	2021	€14.00
WATSON, CHRIS & MARCUS DAVIDSON	Cross-Pollination	CD	"Touch presents a piece by British environmental sound archivist Chris Watson and a collaboration between Watson and British composer, producer and keyboard player Marcus Davidson (Spire). "Midnight At The Oasis" is a 28-minute time compression from sunset to sunrise in South Africa's Kalahari Desert and features the dense and harmonic mosaic of delicate animal rhythms recorded in this remote habitat. The piece was first performed at the Marquee in Parliament Street, York, on September 13th, 2007 as part of SightSonic's contribution to the BA Festival of Science. The Kalahari Desert is a vast and open space where most of the wildlife is nocturnal. After sunset, the dunes, grasses and thorn bushes are patrolled by an emerging alien empire -- the insects. "Midnight At The Oasis" presents an unseen soundscape from this beautiful and hostile environment. "The Bee Symphony" is a project by Chris Watson originally for Pestival (an international arts festival dedicated to "insects in the arts and the art of being an insect") in 2009 to explore the vocal harmonies between humans and honey bees in a unique choral collaboration around and within the hives of an English country garden. Recorded live at The Rymer Auditorium, Music Research Centre, University of York, England on December 17th, 2010 by Tony Myatt, using a Soundfield SPS200 microphone recorded onto an Edirol R4 (surround version) and 2 x Neumann U87 microphones via Grace Microphone Preamplifiers, recorded onto an Edirol R44 (stereo version). Composed and arranged by Marcus Davidson using recordings made by Chris Watson & Mike Harding and diffused through a 4.1 Genelec system by Chris Watson." [label info] www.touchmusic.org.uk "What on earth am I doing inside the house? The sun is bursting, with a totally friendly temperature, which scream: walk! walk! walk! But no, I am inside, listening to music. Music made with the use of field recordings to be precise, as is certainly the case with the first piece by Chris Watson. Entirely recorded in the Kalahari desert, from sunset to sunrise, but then trimmed down to twenty-eight minutes. A remote area, where most of the wildlife is awake at night - with lots of insect chirping and buzzing. Its almost an electronic piece of music, which I guess is exactly why this is such a great piece of music. With much of the field recording artists who merely capture the environment, Watson takes it all a step further and actually composes with those sounds into quite a captivating piece of music. No by looping sounds, or putting on fancy plug-ins, but merely a process of editing and fading. Simple but difficult in order to create such an overwhelming mass of sound. And masses of sounds is also what's happening on the second piece, which is by Watson and one Marcus Davidson. It explores the vocal harmonies between humans and honey bees. Watson is here responsible for the field recordings used (which he did with label honcho Mike Harding), while Davidson gets the credit as composer. The bee choir consists of five human voices, who buzz like bees. If you are melissophobic then this will surely be a scary piece. A lovely CD of music derived from nature, as well as an interaction of human activity and animal sounds. Now its time to go out and the hear the real action." [FdW/Vital Weekly]	2011	€14.50
WE LIKE WE & JACOB KIRKEGAARD	Time is Local	LP	Time is Local is a project by Danish collective We like We and sound artist Jacob Kirkegaard built around a 12-hour live sound installation and performance at Thorvaldsen Museum in Copenhagen. The piece was initiated and performed by the artists during the G((o))ng Tomorrow Festival in 2017. As they slowly wandered the halls and rooms of the museum for a whole day, they performed extended sound compositions for a visiting audience at each of the 12 chambers for a longer session - a haunting experience as the outside world disappeared and the focus was on quiet sonic moments unfolding in midst of the grand, reverberous space. For this album they have collected 12 fragments revolving around the chambers in the museum. Each chamber is being represented by its own handful of tones, instruments and voice. The statues within, depicted by neo-classicist sculptor Bertel Thorvaldsen get their own soundtrack of quiet emanating gusts. Barely heard frequencies reflect through the walls. The marble carved busts of Greek gods that line the museum hallways gaze eternally with a blank stare as decades pass and new audience arrives. Although We like We should need no introduction to followers of the Sonic Pieces label, the Danish all female sound quartet consists of Katrine Grarup Elbo (violin), Josefine Opsahl (cello), Sara Nigard Rosendal (percussion) and Katinka Fogh Vindelev (voice). Together they have forged a dynamic and intuitional sound beyond genres through the last decade. Only two years ago they released the nordic neo-classical opus Next to the entire All. This time they emerge in collaboration with sound artist Jacob Kirkegaard. Jacob’s works are sonic reflections on complex aspects of the human civilisation, treating themes such as radioactivity, melting ice, border walls and tones emitted by the ears. Through the last decades he has released records and sound documents through labels such as Touch, Important Records and more. As a document of their 12h performance, Time is Local is a beautiful sonic evocation that shines as a bright line of sun through the cracks of a tomb. https://welikewe.bandcamp.com/album/time-is-local	2019	€29.00
WEHOWSKY, RALF / JOHANNES FRISCH	Tränende Würger	CD	RLW COLLAB(or)IERT wieder ! Diesmal mit dem uns unbekannten JOHANNES FRISCH, der aus der Impro-Szene stammt.... Vier Stücke voller Überraschungen ! “ 1) Johannes Frisch: works since the late 1970s as a performer, composer and improviser of contemporary music between experimental rock, free jazz and other openminded styles. on his main instrument, the double bass, he works for more than three decades consequently on an individual expressive language. he played with lot of musicians of the international scene of free improvisation and all experimental fields - among others Lol Coxhill, Maggie Nicols, Johannes Bauer, Le Quan Ninh, Paul Hubweber, Michael Vorfeld, Misha Feigin. Compositions for theatre, film and dance theater actual projects: Kammerflimmer Kollektief; Home of the beast, with Peter Hollinger und Helmut Bieler-Wendt; Ensemble Sondarc, music for six double basses; rat'n'X; trio with Paul Wirkus & Mikolaj Trzaska; concerts & festivals all over europe. 2) Ralf Wehowsky: founded the group P.D. (in 1981 renamed P16.D4) and the label Wahrnehmungen (in 1982 renamed Selektion) in 1980. P16.D4 were one of the most influential groups of experimental industrial music. They developed concepts of materialaustausch long before the term remix was even coined. for their live appearances they were equally at home at punk and no wave festivals as at the holy grails of academic avantgarde like the Ferientage Neuer Musik, Darmstadt. since the early 90s Wehowsky worked under his own name (rlw). the quiet, highly complex style of composition, based on artifacts of instrumental and electronic lateral noises, evolving out of his collaboration with bernhard günter was influential for numerous artists in the fields of electronic and improvised music. some reflections on his work can be found on TULPAS, a 5CD-box-set, featuring more than 50 artists performing their versions of rlw pieces (incl. Jim O´Rourke, Brume, Achim Wollscheid, Toshiya Tsunoda, John Duncan, Antanas Jasenka, Ryoji Ikeda, John Watermann a.o.). the new decennium started with a surprise for many as first releases showed a new approach of integrating improvised music and composition (as can be found on the CDs VIEWS and SIGHTS, the latter w/ long-time collaborator Bruce Russell). 3) Tränende Würger: is based on free improvisations by the Frisch/Wehowsky duo, reworked with electro-acoustic means. the compositional process did not intend to mask the nonlinear nature of the improvisations. quite on the contrary their organic character has been emphasized by crystal-clear sharpening of details. you´ll find complex structures and dark atmospheres, not unlike those on some P16.D4-, This Heat- or Mnemonists- releases, though absolutely rooted in the 21st century. beauty and posoning are not far from each other. 'Tränende Würger' comes in a plastic bag, 15x15cm with the artwork on six seperate sheets, dealing with poisenious plants. Design by Meeuw.” [label description]	2005	€13.00
	Which Head are you dancing in?	CD	"An album 'Which head you're dancing in?' is full of weird rhythms and glitches but the most amazing thing here is the main inspiration. All of the pieces from this release wouldn't have been created without Ornette Coleman. Both Frisch and Wehowsky found many inspiring moments in music played by the father of free jazz. Their own work is full of glitches and noisy ornaments. In some parts one can find rhythmical structures reminiscing discotheque for spoilt laptops, other compositions show beautiness of contrasts between silence and prolonged, dark and wiry bass phrases. Johannes Frisch works since the late 1970s as a performer, composer and improviser of contemporary music between experimental rock, free jazz and other openminded styles. on his main instrument, the double bass, he works for more than three decades consequently on an individual expressive language. he played with lot of musicians of the international scene of free improvisation and all experimental fields - among others Lol Coxhill, Maggie Nicols, Johannes Bauer, Lê Quan Ninh, Paul Hubweber, Michael Vorfeld, Misha Feigin compositions for theatre, film and dance theater actual projects include Kammerflimmer Kollektief; and collaborations with Helmut Bieler-Wendt. Ralf Wehowsky founded the group P.D. (in 1981 renamed P16.D4) and the label Wahrnehmungen (in 1982 renamed Selektion) in 1980. P16.D4 were one of the most influential groups of experimental industrial music. They developed concepts of materialaustausch long before the term remix was even coined. For their live appearances they were equally at home, at punk and no wave festivals and at the holy grails of academic avantgarde like the Ferientage Neuer Musik orDarmstadt. Since the early 90s Wehowsky works under his own name (rlw). The quiet, highly complex style of composition based on artifacts of instrumental and electronic lateral noises, evolving out of his collaboration with bernhard günter was influential for numerous artists in the fields of electronic and improvised music. Some reflections on his work can be found on TULPAS, a 5CD-box-set, featuring more than 50 artists performing their versions of rlw pieces (incl. Jim O«Rourke Brume, Achim Wollscheid, Toshiya Tsunoda, John Duncan, Antanas Jasenka, Ryoji Ikeda, John Watermann a.o.). The new millennium showed a new approach of integrating improvised music and composition (as can be found on the CDs 'VIEWS' and 'SIGHTS', the latter w/long-time collaborators BruceRussell and Johannes Frisch)."	2014	€12.00
WENT, JOHANNA	The Club Years	DVD + CD	Acht extreme Performance-Mitschnitte / Filme von JOHANNA WENT (bekannt vom 'Industrial Culture Handbook' von RE/SEARCH) aus einem Zeitraum von 10 Jahren (1977-1987), die v.a. im kalifornischen Raum auch in der Experimental- und Industrial-Szene aktiv war und sich mit ihren bizarren, dadaistischen & wilden theatralischen Performances einen Namen machte; die DVD zeigt ihre ekstatisch-schamanistischen Grenzüberschreitungen mit grellen Vocals und manchmal meterhohen Verkleidungen und Bühnenaufbauten, mit meist rhythmisch-elektronoisigen oder Improkrach als musikalischem Background, zum Teil unglaublich bizarr, eine Art post-modernes "Theater der Grausamkeit! Dazu gibt es diverses musikalisches Bonusmaterial in Form auf einer extra-CD, Fotos, Kommentare, etc.. alles sehr professionell präsentiert und aufbereitet. 80 minutes live performance footage (1977-1987) from this early west-coast industrial artist plus all of her studio-recordings! "Johanna Went is a pioneering performance artist who began performing as part of a street theater troupe that traveled America and Europe in the 1970’s. Following her years on the road she settled in LA in the late 70’s and began transforming her street theater performances into what would become her signature style. Using found props and hand-sewn costumes she developed a wild stage act that included live musical backing from legendary performers such fas Z’ev and KK Barret of the Screamers. In 1979 she began working with the Wheaton brothers (Brock on drums and Mark on syntheziers) who arrived in LA that year from Seattle with their band Chinas Comidas. To this day Mark continues to work with Johanna as her musical director. Their next collaboration will be a series of performances at LA’s Track 16 Gallery in May 2007. Combining a wild, chaotic performing style packed with visual excitement, gallons of blood, streams of multicolored liquids, giant bloody tampons, enormous sewn fabric sculptures, wacky scary costumes and enough Styrofoam and found film stock to fill a room, Johanna packed the clubs in LA, San Francisco, Seattle, Phoenix and New York. For more than ten years she was known as an innovative performance artist, particularly for the visual richness of her on-stage characters. She was equally renowned for her use of live improvised music that crossed over from jazzy rock grooves and jungle beats to electronic soundscapes and industrial noise. And always, above all the wild, driving music: Johanna’s completely stream of conscience vocals. The DVD's main attraction is its 80 minutes of live performance footage shot on video tape at clubs and galleries in the Los Angeles area from 1977 through 1987. The eight performances range from an early and very raw solo performance by Johanna Went at a small store front club to a pair of performances video taped by Academy Award winning avant garde film director Shirley Clarke. Bonus material includes entertaining and informative audio commentary for each track, recorded by Johanna Went and Mark Wheaton, a slide show of classic live performance photos, and a page of web links accessible when the DVD is played in a computer. The recordings on the bonus CD reveal a wacky sense of New Wave insanity that reminds us of the Residents if they were a punk band backing Ornette Coleman. It collects for the first time all of Johanna Went’s studio recordings written and produced by Johanna and her musical collaborator Mark Wheaton. This includes the complete Hyena LP, first released on Poshboy Records and now remixed and remastered, as well as the songs from their first 45rpm single originally released on Boyd Rice’s Graybeat label." [label description] "....Johanna Went use a wide range of disciplines for her performances, from collage to painting, from sewing to gluing, resulting in shows that involves sex, fluids, liquids, meat to create extreme shows of filth, repulsion and destruction. Trashiness in its most beautiful form! Set against a background of very loud noise and rhythm textures, Johanna Went's show is more a furiously energetic trance-state than the performance of rational being. The sonic background of the performances is created by two of early industrial scenes strongest artists, Z'ev and Mark Wheaton, composing sound sculptures of noise and rhythmic complexity. Musical climax comes with the third chapter "New Wave Theater". Being the harshest contribution on the DVD the track is built on buzzing drones and screeching noises. The abrasive expression are assisted by some cool drum-patterns works of Brock Wheaton (brother of Mark Wheaton), impressively following the genuine performing sickness of Johanna Went. On the performing side the video peaks with the second chapter "The Box". Combinations of wild animal video recordings and the physical performances by Johanna Went make the artist seem like part of the intuitive and instinctive wild animal life. Absolutely amazing treatments of performances and manipulated videoclips. As top of the icing comes a bonus CD including the Hyena LP as well as tracks from their first 7"-vinyl, "Slave beyond the grave". For people, wanting to know more about the earliest stages of industrial culture this DVD-pack is a gem. Also for people seeking the extreme territories of art expression, sonically as well as visually, this video is a must-have. The highest praise for Soleilmoon Recordings for bringing these visually and sonically works of art back into daylight! For further readings about Johanna Went and her art collaborations with Z'ev and Mark Wheaton, check out the book "Industrial Culture Handbook" released by RE/Search Publications back in 1983; Another informative milestone in the history of early Industrial Music culture." [NM / Vital Weekly] www.soleilmoon.com	2007	€18.00
WHALESONG	Leaving A Dream	do-CD	"Leaving A Dream" is the third studio album in WHALESONG's discography released by Zoharum in coopertion with Old Temple. Two CDs contain over 120 minutes of music combining various genres into one coherent whole. A sonic feast composed of blinding light, hopes, dreams. A kind of endless stream of consciousness, sonic cinema for everyone who loves to lose themselves while listening. Many distinguished guests took part in the recordings, including Attila Csihar (SUNN O))), MAYHEM), Steve Blanco (IMPERIAL TRIUMPHANT), Wukir Suryadi (SENYAWA) and many other excellent musicians, such as vibraphonist Tomasz Herisz, saxophonist Aleksader Papierz or pianist Miro Snejrd from HERR LOUNGE CORPS. Whalesong is an experimental collective from Tarnowskie Góry and for years the main band of Michał Kiełbasa (Grave of Love, Lugola, Harmony of Struggle, NHC). Although the group's work defies all possible definitions and unambiguous pigeonholing, in their work one can find references to such genres as industrial, noise rock, no wave, drone, jazz and post rock. In their compositions, often lasting several minutes, they attack with weight, dynamics and hypnotic phrases, crushing with the powerful, sometimes even overwhelming sound of guitars, which is constantly accompanied by a tribal, mechanically hammered rhythm. For this purpose, the musicians use both classic "rock" and more unconventional instruments, from various types of percussion, such as: gong, cymbals, tubular bells, mellotron, and even everyday objects, elements from scrap metal, some pieces of sheet metal or circular saws . So far, the group has had the opportunity to collaborate with, among others: with such artists as Thor Harris (Swans, Wrekmeister Harmonies), Wacław Kiełtyka (Decapitated, Machine Head) or Aleksander Papierz (Sigihl). The 2CD edition and the digital version will be released on July 14 and will be combined with a special premiere concert during the Castle Party festival. Shipping of orders collected from our store and other platforms will start on July 18, after our return from the festival. https://zoharum.bandcamp.com/album/leaving-a-dream	2023	€16.00
WHETHAM, SIMON	Hydrostatic	CD	" ‘Hydrostatic’ was commissioned by the McNeill Street Pumping Station New Music Festival, Shreveport, Louisiana, USA in November 2011, and presented as a multi-channel performance. Simon Whetham spent more than a week exploring the site, capturing the sounds of the space, the vibrations of the buildings, the spirit of the community and perhaps the echoes of past activity… Mastered by Miguel Carvalhais.. Simon Whetham – Biography 2013 Over the past eight years Simon Whetham has developed a practice of working with sound recordings as a raw material for composition. These are often environmental sounds he has captured employing a variety of methods and techniques, in order to obtain discreet or obscured sonic phenomena. In removing sound from it’s source, sometimes amplifying it significantly, it becomes abstract – familiar yet otherworldly. More recently, when presenting work in a performance or installation, for him the space and the objects within become instruments to be played. Simon has a large number of works published through many specialist organisations, including Touch Music, Cronica, Dragon’s Eye, Monochrome Vision and Entr’acte; has performed extensively internationally; collaborated with artists from musicians to performance artists, painters to video artists, dancers to poets; has run listening and field recording workshops in UK, Colombia, Chile and Australia; and received a large number of commissions and awards for projects and installations – notably ‘Active Crossover’. Supported by the Arts Council England and PRS for Music Foundation, the project comprises sound installation, performance, collaboration and workshops. ‘Active Crossover’ has toured six cities in the UK, and also been hosted in Estonia, Argentina, Australia, Chile and Colombia, with future residencies in Germany and Norway in 2013." [label info] www.aufabwegen.com "SIMON WHETHAM, dem wir zuletzt als Eyjafjallajökull-Gestrandeten im April 2010 in Lissabon begegnet sind, treffen wir wieder im November 2011 in Shreveport, Louisiana. Das dort stattfindende McNeill Street Pumping Station New Music Festival hatte ihn mit einem Beitrag beauftragt. Er verbrachte eine ganze Woche in dem einstigen Pumpwerk, um den hydrophonen und postindustrialen Genius loci oder Hausgeist zu begegnen. Das Rauschen von Wasser, der Geschmack von Eisen, Rost und Patina wurden zu Ingredienzen seines Dröhnscapes Hydrostatic (aatp39), den nicht zuletzt der Fluss der Zeit durchströmt. Pfeifende Laute und geisterhaft summende evozieren dabei etwas Älteres als das Industriezeitalter. Hölzernes und metallisches Gestöber suggeriert eine verlassene Geisterstätte, eine Ruine, die nach noch Brauchbarem durchsucht wird. Organum hat schon auf Vacant Lights solche Klänge eingefangen, Ephraim Wegner hat kürzlich ähnliche in verlassenen Hotelruinen gefunden. Immer ist damit ein ‘Danach’ verbunden, ein ‘Vorbei’. Latten scharren über den Boden, der Wind faucht, als wollte er noch den letzten Eindringling verjagen. 1887 in Betrieb gegangen, wurde bis 1980 dampfbetrieben, heute ist das McNeill-Pumpwerk ein National Historic Civil Engineering Landmark. Whetham erschafft mit droneüberwölbtem Getröpfel und Geplätscher die Illusion einer Quelle, des verborgenen Anfangs einer Lebensader, die hier mit nahezu kultischer Aura widerhallt und wieder als pumpende Mechanik zu ‘atmen’ beginnt. Das Elementare, das das vermeintlich so rationale und funktionale Maschinenzeitalter ignoriert und verdrängt hat, kommt wieder im Denkmal zum Vorschein, nachdem die Funktionalität modernisiert und inzwischen noch unbewusster geworden ist. Ich glaube, es war Ernst Jünger, der zuletzt Zweifel an einer Freiheit hatte, die davon abhängt, dass Wasser, Strom und Gas in unsichtbarer guter Hand sind." [Rigobert Dittmann, Bad Alchemy] "The ever so busy bee Simon Whetham and his multiple travels around the world. Here we find him guest of the McNeill Street Pumping Station New Music Festival in Shreveport, Louisiana in November 2011 where Whetham spend a week going about this pumping installation to create a multi-channel performance of his music. It's not only the pumps, but the complete site, the buildings and the people around it that have been captured by him and collages into five pieces of music, totaling around 53 minutes. With Whetham, I must admit, I am never sure what it is that he does. Obviously he picks up sounds from the environment, that's hardly a secret, but then what does he do? Is he playing them one at a time (which I doubt), is he layering them together, or is there any sort of electronic treatment going on? I assume the latter is the case, but I might be wrong altogether. Whetham does apply 'musical' techniques to create his music, like using loops in the fifth part of a jackhammer, the melodic drone touch in the third part and such like. He creates all these little touches which stretches it far beyond the mere documentation of a certain area. Spooky and mysterious at times, this is another fine addition to what mounts to a vast amount of releases by now. It's almost on par with his recent 'Never So Alone' (see Vital Weekly 870), which I thought was his best so far. This one is almost as refined I am to say. It's only in the smaller, somewhat untouchable details that I think this is just a bit less. Just a bit, I may add. If the name Whetham is new to you, then 'Hydrostatic' is an equal fine starting point." [FdW/Vital Weekly] "The globe-trotting British sound artist Simon Whetham found himself in Shreveport, Louisiana in 2011 where he was commissioned to develop a body of work based on the defunct MacNeill Street Pumping Station. This artifact of the 19th Century was the last known steampowered water plant in the United States and has been a historical site for several decades now. He was one of many acclaimed artists asked to contribute to the seemingly inactive MacNeill Street Pumping Station New Music Festival, alongside Tim Hecker, Lawrence English, Mark Fell, Eli Kezler, and about a dozen other denizens of avant-garde soundcraft. It was a great idea to have all of these artists develop compositions, installations, and performances within such an interesting space; and we can hope that the festival is merely on temporary hiatus. Needless to say, here we have the stereo mix of Whetham's multichannel installation that he presented at the festival. His source material consists of drones from the huge metal pools and the network of pipes from that space, focusing mostly on the resonant frequencies of the ghostly drones and watery tones. Overlapping, sinewy electric vibrations tumble into a pool of isolationist dank at the beginning of the album before a reverberant flute utters a solitary bellow amidst the metallic klang reverb articulating two of the techniques of Whetham's sound-hunting - that of the contact microphone on sonorous objects and the open-air recordings of those reflective surfaces. Deep, low-end rattlings gird the bulk of Hydrotasic with wind-swept thrumming, agitated found objects, and plenty of nocturnal clutter being moved around by the ghosts that lurk in the sticky humidity of a Louisiana swamp, or at least that's what it sounds like. Brilliantly akin to the processed field recording work of Jonathan Coleclough, Thomas Koner, and BJ Nilsen." [Aquarius Records]	2013	€13.00
	Dry	CD	Two bodies of water, contained in man-made channels and held back by barriers. Such is our desire and need to control nature, that we have used this resource to aid our industrious endeavours, often at the expense of the local area and environment. Steel, wood and concrete stand tall, holding back huge volumes of water to be channelled to produce electricity, cooling processes or simply be stored for future use. Often these processes contaminate the water – some bodies we visited are so poisonous they no longer support life, although from our point of view they are beautifully clear and limpid... The sound of water infiltrates the fabric of the materials used to control them and this became my focus. Recording these sounds through the surfaces and materials of the restricting structures I hoped to retain some of the energy passing through them. Then in a process of self-reference, I played the recordings back through the materials, documenting the results, and repeated this process a number of times. The sounds became more tonal and some frequencies were enhanced, just as others dissipated. Recording both directly from the surfaces of the materials and extremely close to them, I hoped to capture the vibrations passing through the structures but also the air in close proximity to their surfaces. The results have very little audible space and are rather claustrophobic, but also quite varied. Both projects called for a performance to result from the recorded material, which then did allow these sounds the space they required, changing the way they are perceived. I advise listening through good quality speakers rather than headphones or earbuds, as the work requires this distance and to be able to move freely within the listening space, just as water would flow from an opened lock gate or a broken dam. Postscript: The title 'Dry' is an obvious reference to the subject of the work being water, but also that the recordings were not processed using software plugins (where one uses the terms wet and dry to specify the amount an effect is used on a source) but by the recording and playback process itself. (simon whetham, December 2019) LOCATIONS : Greenlightdistrict Festival, Skotfoss, Telemark, Norway Reservoir Festival, Linachtasperre, Black Forest, Germany. Source recordings made in 2019 during two closely related projects. Mastered by Flavien Gillié. ~ Thanks to : Jørgen Larsson, Tom Hovinbøle, Simon Torssell Lerin and Bettina Hvidevold Hystad, Susana Lopez, Tine Surel Lange and the team of Greenlightdistrict festival, Ypsmael,Norbert Schnell and the artists and team of Reservoir Festival, and Helen An for her love and support. Additional art card, cover design & treatments by Daniel Crokaert. Based exclusively on photos by Susana Lopez & Tom Hovinbøle. https://unfathomless.bandcamp.com/album/dry	2020	€14.00
WHETHAM, SIMON & FRIENDS	Meditations on Light	do-CD	"In 2009 Simon Whetham was commissioned by painter Kathryn Thomas to compose a surround sound composition and installation to accompany her Darkspace project, a series of paintings inspired by the infinity of the cosmos, which was exhibited as part of her biggest solo exhibition to date, 'Lightyears'. The composition was also mixed down to a stereo version, mastered by Scanner, and released on Simon's own label, Traceable Echoes, to be available to visitors of the exhibition. Many other artists heard the work and gave praise to this departure from Simon's work up until that point, as for the first time he had composed with much more musical elements, and an idea emerged. Simon was already planning his own reworking of the raw materials of 'Lightyears', as he felt the brief was very restrictive, and wanted to hear the results of using the same material without these constraints. He also offered the opportunity to all artists who responded positively to the work to produce their own characteristic interpretation of the composition.Here are the results; a common thread is evident, but very individual voices are heard, leading you on an immersive, engaging journey..." [label info] www.monochromevision.ru	2011	€15.00
WIESE, JOHN	Circle Snare	LP	"PPM31 - JOHN WIESE LP. FIRST PRESSING OF 500. BLACK VINYL. HEAVY UNCOATED PAPER STOCK. PRINTED INNER SLEEVES. Description - John Wiese is an artist and composer from Los Angeles, California. His ongoing projects include LHD and Sissy Spacek, with plenty of freelance work with many artists as diverse as Sunn O))), Wolf Eyes, Merzbow, Evan Parker, Smegma, Kevin Drumm, Cattle Decapitation, and C. Spencer Yeh (Burning Star Core). He has toured extensively throughout the world, covering Europe, Scandinavia and Australia as a member of Sunn O))), the UK as part of the Free Noise tour (a tentet including Evan Parker, C. Spencer Yeh, Yellow Swans, etc.), the United States alongside Wolf Eyes, and recently performed in the 52nd Venice Biennale with artist Nico Vascellari. Consider “Circle Snare” a hard-wrought souvenir. Composed and realized in the midst of a comprehensive Scandinavian/European tour in 2008, John Wiese found himself tangled deep in dialogue with his instruments and ideas. wiese increasingly scrutinized his native tongue and vocabulary, seeking new forms of grammar and cadence, as only extensive dives in unfamiliar waters can inspire. his given electronic anatomy of drum machine, microphones, tapes, and msp folded out of their hard accustomed formations, breaking out into a more cogent and vital arsenal. “circle snare” is the cumulative result, a finely detailed and dimensional evolution of an already unique voice. the circle is a spiral from the side, and the greatest trap is standing still. cd version released on no fun productions in 2009, this vinyl version is limited to 500 copies." [label info] www.postpresentmedium.com	2010	€16.00
WIESE, KLAUS	Maraccaba	LP	Look no further for some classic contemporary ambient music! Originally released on tape in 1982, Maraccaba is the second solo album from Deutsch electronic wizard Klaus Wiese, a Popol Vuh member during the recordings of iconic masterpiece as "Hosianna Mantra" and "Seligpreisung." Klaus Wiese was a veteran musician, minimalist, and multi-instrumentalist. A master of the Tibetan singing bowl, he created an extensive series of album releases using them. Wiese also used the human voice, the zither, Persian stringed instruments, chimes, and other exotic instruments in his music. Wiese is considered by some as one of the great ambient or space music artists alongside Robert Rich, Steve Roach, Michael Stearns, Constance Demby, and Jonn Serrie. His musical style is much more appropriately compared to the organic soundscapes of drone and dark ambient music, such as Oöphoi, Alio Die, Mathias Grassow, and Tau Ceti. In the 1990s he founded the Nono Orchestra to play the giant sheet metal instruments of Robert Rutman. Wiese is known also for his collaborations with Al Gromer Khan, Mathias Grassow, Oöphoi, Tau Ceti, Saam Schlamminger, and Ted de Jong. He collaborated with Deuter on his Silence is the Answer album in 1980 and East of the Full Moon in 2005. Edition of 500.	2023	€23.50
WINER, LESLIE & VON HAUSSWOLFF, C.M	1	LP	Leslie Winer is an artist and author living and working in France. Earlier releases include Witch (recorded in 1990, released in 1993), & That Dead Horse (recorded in 1994, released in 2010), Always Already (2011), and the retrospective compilation Leslie Winer &c. (WHO 003CD, 2012). She has collaborated with Jon Hassell, Bomb the Bass, Mekon, and her words and voice were heard on a track on CI by Diamond Version (Carsten Nicolai and Olaf Bender) (2014). As of 2015, she is co-editor and co-executor for the estate of beat writer Herbert Huncke. (1), by Winer and Carl Michael von Hausswolff, is Winer's first full-length original release to be recorded since 1994. CM von Hausswolff divides his time between the worlds of music and visual art. His records, which he has been releasing since 1979, have been released by such labels as Radium 226.05, Ash International, Raster-Noton, Laton, iDEAL, and Touch. He curates Freq_Out, a collaborative sound installation shown in Paris, Berlin, Stockholm, Marrakesh, and beyond, with such artists as JG Thirlwell, Finnbogi Petursson, Jana Winderen, and Christine Ödlund. He makes films with Thomas Nordanstad and music with Martin Rössel (as Gomila Park), Jean-Louis Huhta and Graham Lewis (as Ocsid), and Joachim Nordwall and Jason Lescalleet (as ENOUGH!!!). Leslie Winer and Carl Michael von Hausswolff met in 2011 in Lisbon, Portugal, via Philip Marshall, co-owner of The Tapeworm. They decided to make a vocal/electronic music collaboration just for fun, with no intentions to have it on any kind of phonogram. Time proved different! Text and vocals by Winer; music by von Hausswolff, except for "Talked to some of them," which features music by von Hausswolff and Nordanstad, from their 2009 film Electra, Texas 2008. Recorded, mixed, and treated in Vigny, France, and Stockholm, Sweden, 2012-13. ##################################### "Leslie Winer has long been an intriguing figure to me, an eighties fashion model who while in London frequented Leigh Bowery's infamous Taboo nightclub. In New York in the seventies she lived with Jean Michael Basquiat and became acquainted with the Beats in the form of William S. Burroughs and Herbert Huncke. But it is her association with musicians connected to Adam And The Ants that really gets me. She had a short lived marriage to Kevin Mooney, and was instrumental in his post Ants projects Max and Wide Boy Awake. This is her first proper album since Witch, a cult album with a turbulent history which first surfaced as a white label before its official release in 1993 on Transglobal Underground's own label. Its hazy atmosphere, spoken passages laced with samples and dub infused beats, has as many commentators pointed out laid down something of a blueprint to what became known as trip hop - something which Winer herself has reservations about. Witch featured a rich ensemble of artists including bassist Jah Wobble, filmmaker John Maybury, and various ex-Ants musicians including Mooney and Matthew Ashman, alongside Mooney's former Max/Wide Boy Awake associate John Keogh, as well as Karl Bonnie of Renegade Soundwave. Winer also featured on Sinead O'Connor\'s The Lion and the Cobra which in various formations also included Mooney, Marco Pirroni, and O'Connor\'s ex-husband John Reynolds, who also turns up on Witch. The interconnectedness between these players beggars belief and that\'s without bringing in John Gosling's Mekon whose releases feature many of the aforementioned, as well as Winer herself. But that's just the backstory. In 2010 The Tapeworm released & That Dead Horse, a collection of unreleased recordings, while 2012 saw the release of & © on The Wormhole, containing material from the aforementioned Witch with other material recorded in Miami and collaborations with Vincent Gallo and Christophe Van Huffel. Van Huffel would go on to work with Winer as Purity Supreme releasing the guitar strewn atmospherics of Always Already as a 12-inch on Ash International. It was around this point The Tapeworm's Philip Marshall brought together Leslie Winer and Swedish sound artist and composer Carl Michael von Hausswolff, who agreed to collaborate on music. The results are (1). It's easy to regard Winer's delivery as a stream of consciousness, but there's thought behind her lyrics and particularly in the emphasis found within her phrasing. Lines appear and then reappear later in another form, as she plays with reality, in a voice deeper and more lived in than the mischievous delivery of Witch. It's difficult to ascertain Winer's viewpoint in her words on (1), as they sway between the poetic and the philosophical, especially on the longer tracks found on the first side. On 'I'll Be Mother' over a discreet ringing drone, she ruminates about "the next generation" and the need for "a pharmacological method of making people love." Her husky drawl, speaks of a susceptible populace where "we are creators, yet we have also been created". "I'll Be Mother" she repeats, adopting the role of the maternal figure characterised in the ritual of making tea. Winer, as executor to the works of Herbert Huncke, has long been associated with the Beats, but it is in the following track the friendship and the education learned from William Burroughs comes to the fore. 'I'll Be Mother' may have touched upon the Control Process that Burroughs dwelt on, but 'This Discreet Organ' looks to transformative powers of interconnectedness, touching upon observation and evolutionary evidence to question "long held notions of who and what we think we are" where time, sequence, speech, language and pattern recognition play a role. This is Winer in full-on philosopher mode: "The concept of what a thing looks like takes precedence over direct observation". In measured breathless tones she reflects on human development and the need for sleep, questioning evolution, biology and gender roles when she inquires "Did women throw enough spears?" Mirroring Burroughs she asks "Who is running the show?" over Von Hausswolff's lingering drone. More than ever on 'Can I Take Your Order' her husky, hesitant delivery apes the sardonic drawl of a Burroughs reading. The text concerning culture and patriarchy is cut-up with various sections reappearing and reformed over the powerful undulating drones of von Hausswolff. While much of von Hausswolff's score is understated and subtle it is much more prevalent here - and in all the tracks on side 2 - gently swelling around Winer's fragmented oblique text entwining biographies of an aspiring writer and isolated academic. Juddering glacial tones form a frosted layer to the treated, distant and hard to discern delivery of Winer on 'Weatherman'. The closing track 'Talked To Some Of Them', additionally features and is credited to Thomas Nordanstad. It is taken from Electra, Texas 2008, the third in a series of films by CM von Hausswolff and filmmaker Thomas Nordanstad. The music is reduced to arching electronics, rising and falling behind Winer's fragmented musings, recycling text that originally surfaced on 'I'll Be Mother'. "This seems to be the final revolution", she muses, over effects resembling distant tolling bells. Last year, Leslie Winer, in a photographic session by Juergen Teller, became the face of Vivienne Westwood's 2014 campaign, and amidst all the Tapeworm associated releases it seems Leslie Winer, from her reclusive life in France, is making tentative steps back to into the public arena. Without downplaying von Hausswolff's contribution here my focus on (1) is in on Winer, her voice and the spoken word text giving form to her philosophy and current thinking. (1) won't garner the gushing words that surround Witch, recently reissued by Superior Viaduct, but (1) does show she still has much to say, and (1) is worth seeking out, especially if either artist is of interest. For more information go to Monotype Records" [Compulsion Online]	2015	€26.00
WINTER FAMILY	Red Sugar	CD	"Second long awaited album by duo Ruth Rosenthal and Xavier Klaine, actually based in Brooklyn. A rare and unique audio worldview expressed by the singular approach of Ruth Rosenthal (voice) and Xavier Klaine (harmonium, organ etc..). From the first bares of Searching Donkeys this new album creates a glowering and intense atmospheric...part nightmare, part uplifting dreamscape. It permeates and builds into a compelling whole. a reference point might be some of the output of Constellation records - indeed GYBEs Norsola Johnson plays on this record.. However it is doubtful whether any of those artists ever produced anything to match the taut tension of the title track Red Sugar..an hymn to absence. The ambition of Winter Family is evident on the expansive, orchestral epic dancing in the sun..crank your speakers, sit back and open your mind.. it WILL blow you away." [label info] www.subrosa.net	2011	€13.00
WIRE, THE	issue # 285 (Nov. 2007)	mag	"On The Cover: Underground Resistance (The elusive Detroit Techno guerrilla cell are superheroes of the Motor City, waging electronic warfare on Capital. Founder 'Mad' Mike Banks explains campaign strategy to Mark Fisher). Features: Flying Lotus (Dave Stelfox meets California's one-man cinematic orchestra, freak-hop rejuvenator and grand-nephew of Alice Coltrane); David Watson (The well travelled improvisor brings the skirl of the bagpipes to New York's downtown scene); Daniel Menche (The Portland electronic extremist tells Nick Cain how he's knocking himself out to tame the wild beast of noise); Cross Platform: Juneau/Projects (Britain's woodcraft folk artists make hand carved guitars, drowning Walkmans and sonic skateboards); Invisible Jukebox: JG Thirlwell; Russell Haswell (A catalytic presence in British art and computer music for over a decade signs to Warner Classics for his latest act of digital decimation with Florian Hecker); Loren Connors (How Brooklyn's guitar transcendentalist spun heavenly harmonies from out of the squalor of '70s and '80s urban bohemia)." [Verlagsinfo]	2007	€8.75
WISHART, TREVOR	Machine	CD	Endlich wiederveröffentlicht, das erste grössere Werk des britischen Elektronikers von 1971, erschienen zuerst als Teil der "Electronic Music from York" 3LP-Box 1973. Bearbeitete Field Recordings von Maschinen und Fabriken kombiniert er mit "spoken word" und Chor-Elementen, "echte" Instrumente kommen gar nicht zum Einsatz! "Although Machine was completed in 1971 it was not released until 1972, shortly after the release of Journey Into Space. Machine is therefore the first major composition by Trevor Wishart. It was composed at York University and was originally issued on vinyl as 3 sides of a highly adventurous 3LP box set called Electronic Music From York, released by the University's own record label. In common with Journey Into Space (also on Paradigm Discs), Machine makes use of a large number of volunteer contributors, mostly from the student body at York. With this recording, however, there are no instruments used. Instead, the music of Machine is made up entirely from a combination of spoken text and carefully directed improvising choirs that take their lead from prerecorded factory sounds. These are extensively mixed and edited with yet more collected Machine sounds and other sources of musique concrète, as well as occasional use of basic electronic sources. The scale of this work, and the degree of preparation involved in scoring it, seem to have more resonances with the world of theatre or film rather than tape composition. Much of Wishart's early work involved the use of musicians and artists being directed to perform in new ways, outside of their usual remit. A combination of late 60s openness, detailed scores that provide frameworks for improvisation and slavish editing have resulted in an incomparable sound work. With a continuous playing time of one hour, the wild and previously unexplored terrain covered by this pioneering work of British experimental music moves in turn through the full range of possible audio landscapes from the oceanic calm of the doldrums to earsplitting factory mayhem. Jewel case cd with 12 page booklet." [label info]	2008	€13.00
WOODEN VEIL	same	CD	"Wow! - Ist das nun Großstadtschamanismus, Neo-Hippietum oder die neue Kraft durch globale Spiritualität? Auf jeden Fall ist das sehr kompakt, emotional und wunderbar verschroben. Inwieweit das esoterische Trendkost ist oder künstlerisches Großeinsatzkommando wird sich sicher noch herausstellen, auf jeden Fall sind WOODEN VEIL aus Berlin mit ihrer Mischung aus Tribelsounds, kosmischer Elektronik und wirren Folk/Freak-Out/Kraut-Rockversatzstücken das berührenste was ich aus dieser Richtung in letzter Zeit gehört habe. Friedlich, atonal und kraftvoll mischen sie ihren eigenen Zaubertrank und verwischen damit entgültig jegliche Genre- oder Mediumgrenze, denn auch performancetechnisch und bildnerischkünstlerisch ist dieses Gruppe in sich geschlossen und projeziert ihr Heiligstes und Innerste auf die Umwelt. CURRENT 93, SILVESTER ANFANG und PINK FLOYD bilden ein magisches Dreieck. Abgefahren und bitte nie, nie, nie ankommen..." [Carsten Vollmer, Die Elektrische Zone] "Wooden Veil is a Berlin-based art group formed in 2007. Inspired by the shared hauntedness of their respective homelands, they combine elements from forgotten and misremembered traditions to create a microcosmic world which only Wooden Veil inhabits, complete with its own symbols, clothing, food and shelters. Performances, installations and videos are characterized by an expansive wardrobe of ritual dress, and the creation of shrines, relics and talismans used to create music. The group consists of artists Marcel Türkowsky (also a composer, founder of Snake Figures Arkestra, Cones, Uuhuu, collaborations with Datashock and Christoph Heemann), Hanayo (known for her solo work as a photographer and singer, collaborating with the likes of Christoph Schlingensief, Merzbow, Red Crayola, and Kai Althoff), Christopher Kline (Valkenburg Hermitage, †, Night Music, and Soft Peace), Dominik Noé (member of krautrock legends Lustfaust), and Jan Pfeiffer (Songs For Rocks, Soft Peace, Purple). To understand: Hold right hand, cupped near right ear; turn hand back and forth slightly with wrist. Bring left hand to opposite eye with the second finger pointing in the direction one is looking. With index and thumb of right hand, form an incomplete circle, space of one inch between tips; hold hand towards the earth, then move it in a curve across the heavens and back toward the horizon." [label info] www.dekorder.com	2009	€13.00
X-NAVI:ET	Dead City Voice	LP	"Dead City Voice" is the second vinyl album by Rafał Iwański aka X-Navi:Et(of HATI, Voices of the Cosmos, KAPITAL, Innercity Ensemble fame). It's the follow-up to acclaimed "Soundtracks for the Dying Moments" LP released on Instant Classic last year. It contains 6 new electroacoustic compositions recorded from 2010 to 2013. The theme of the city has appeared in the modern art territory quite a few times before. Wim Wenders, a cult German director, once said that "thecity shapes people, leaves its stigma on them and deforms them to its own likeness." Murray Schafer, a Canadian composer, while working on the concept of "soundscape", claimed that many of the surrounding sonic incidents infiltrates the music of our times. Following the footsteps of Charles Baudelaire among others, urban artists, Rafał Iwański and Ewa Bińczyk, replayed the city, penetrated its spirit and echoed it in their activities. Telling the city by means of sound and vision is becoming an inward journey as well. Inside the cover one can also find the literary text by Dariusz Brzostek (Ph.D. at the University of Toruń, Poland) - a literari, anthropologist and music journalist who has collaborated with many magazines, such as Glissando, Trans/Wizje, Antena Krzyku, Teksty Drugie, Magazyn Fragile. Visually the album is of the highest value. The gatefold cover is adorned with works by Ewa Bińczyk. Additionally, a special edition of 33 copies will include genuine intaglio prints signed by the author making it a true collector's item. The album was released by Zoharum in collaboration with Eter Records, a label set up by Rafał Iwański to release music by his projects X-Navi:Et, HATI, Voices of the Cosmos in digital and analogue formats. The album is released in a gatefold cover in a strictly limited edition of 250 copies." [label info] www.zoharum.com "On vinyl, in a fine fold out cover, we find Hati's Rafal Iwanski's solo project X-Navi:et. Both this and his Hati project are quite active when it comes to releasing music, so you could wonder: do they ever sleep? The main concept behind the six pieces on his new LP is the 'city', but not in a very strict sense I would think. This is not twice 20 minutes of city sounds, or something like that set to music, but pieces that depict the sounds of city through musical means. He uses analog filter machine, analog synthesizer, sampling pad, loop system, hulusi, bells, rattles, metal objects, field and found recordings and effects. Me think that a lot of the acoustic sources here have been sampled and treated extensively before finding their place inside a composition. Take for instance 'Tinnitus Auris': the tinkling of bells are the sounds that a lorry makes when trying to park. Next to that we hear a conveyer belt like sound - the other cars on the same street. Below that is a fiery drone-ventilation shafts on the side walk. That's what I heard. In the other pieces there is a similar liveliness, which we find a big cities - not in the street where I live, and not many cars or people pass on an ordinary working day. But of course all of this is easily said, when you look at the title(s), the picture, the text and such like and make these connections with a big city. I wonder what someone would imagine playing this music as it is, without knowing these references; it might not be the city. But who cares about that? We know what it is about and it's the gesamtkunstwerk that counts. This is a beautiful record of some fine, dark ambient music, with a nice industrial touch to it, very occasionally. Great release!" [FdW/Vital Weekly]	2013	€16.00
YEN POX	Between the Horizon and the Abyss	CD	"Arriving on the scene in 1993 with their self-titled demo, Yen Pox immediately made their presence known with an ability to create monumental, light devouring soundscapes that transcended all that had come before it. Proceeding releases, including their debut CD, Blood Music, 2000’s New Dark Age, and the collaborative CD with Troum only solidified their standing and reputation. With Between the Horizon and the Abyss just being their first full length recording in over 15 years, Yen Pox will never be accused of being prolific. After all, with the two members spread out between Indiana and Washington State, creating new material doesn't exactly lend itself to convenience. But on the rare occasion that recordings do arise, it’s nothing short of masterful, reminding listeners why they’ve achieved such notoriety with such a limited discography, and why their recordings are consistently recognized as benchmarks within the dark ambient genre. Time between releases has been well spent, with the new material taking the early template and expounding upon it greatly, adding layers of industrial churn and structure to the infernal kosmische sprawl they’re so adept at creating. And yet throughout its entirety, Between the Horizon and the Abyss is remarkably polished and fluid. Within its realm, no seconds feel wasted, and every sound feels purposefully placed, even as it moves and flows in perpetual motion; strains of a distant angelic choirs fall beneath a complex array of arcing tones, liquidous, molten textures, & harrowing orchestral shimmer, with fervent masses of malevolent atmospherics billowing forth in glorious detail. While this technically falls under the banner of dark ambient, what Yen Pox has managed to create goes far beyond genre specifications and boundaries, crafting a new benchmark and adding a high water mark to an already stellar discography." [label info] www.malignantrecords.com "The year is 1995 and an extremely young label from Maryland has just begun to open its eyes to the world. Prior to this moment, its entire three-year existence had been dedicated to a ‘zine/compilation combination known as Audio Drudge, with a more official birth coming with a compilation of a different kind in 1994 that featured noise/industrial artists that ran the gamut from celebrated veterans in Illusion of Safety, Maeror Tri, and Contrastate, to what was at the time excruciatingly obscure in Söldnergeist, Vromb, and Kirchenkampf. It was an artist from the latter side of this list that was destined to give rise to one of the most important labels that post-industrial music has seen to this day—a label that, in the absence of Cold Meat Industry, has rightly taken its place at the helm as the leading name releasing the new generation of old-school industrial and dark ambient music today. That label is of course Malignant Records. And the artist? Yen Pox, the duo of Steven Hall and Michael J.V. Hensley, who tomorrow (May 5th) will be making their return after a full decade and a half of silence, save for a notable collaboration with another seminal dark ambient duo in Troum, Mnemonic Induction, and a little-known two-track 10″ on Drone Records, Universal Emptiness. This also requires one to overlook their respective solo projects in Veil of Secrecy and Blood Box, both of which have also been agonizingly slow to realize new music over the years. Yes, this is the project that began the maelstrom of high-quality releases that would make Malignant the monolith of the genre that it has become today, and that in itself should leave expectations at an absurdly high level for any curious ear. For the uninitiated, the project’s name should be enough of a hint to bring about hallucinatory visions of slow-rolling drones and desperate metallic chatter. “Yen Pox” was famously written by William S. Burroughs in Naked Lunch as being “the ash of smoked opium,” which should immediately lead one towards assumptions of the surreal brilliance held therein. Indeed, “The Awakening” arrives with a bass-end rumble that moves with enough sluggish grandeur, complex drones, and vastly cinematic space that it warrants comparisons to some of the finest names in the genre including deep audio extraordinaire Bad Sector and the aforementioned Troum. It is with this impressive track that Between the Horizon and the Abyss opens with the full force of a black hole, slowing down time and stretching it infinitely over an unimaginably monstrous mass, ripping metallic atoms apart with the pulsing black heart of the cosmos. Even “Tomorrow in Ruins” somehow leaves a similar astral impression as that of Ben Frost‘s incredible recent work with A U R O R A. There is a ritual edge present on some tracks as well, from the percussive clamoring and distant feedback howling of “Cold Summer Sun,” to the distant whispers and unnerving climaxing noise of “Grief Ritual.” However, this is only a minimal part of Yen Pox’s identity, as everything about Between the Horizon and the Abyss feels about as purely nihilistic as anything I’ve heard in recent years. The apocalyptic atmosphere present on the album is almost overwhelming at times, imparting an unforgiving amount of dread upon the listener as they float not through dreamy ethereal dimensions, but rather through the smokey black veils of what lies at the end of our journey. The intense album artwork and concise yet visionary track titles certainly don’t help one get an opposite impression though the radiant golds are an interesting and effective choice for such an atmosphere, but the music stands on its own as one of the most defining albums for dark ambient music of the past decade. Truly, at least to some degree, it sets a bar that leaves other modern releases from the genre sounding dry at best. Between the Horizon and the Abyss is one of the few releases of the past few years that has simply come as advertised. It is a triumph of the genre and is destined to be a celebrated gem. One can only imagine that it is the lack of quantity that has provided such astounding quality on Between the Horizon and the Abyss, but with this reminder that there are still new levels to achieve, we can only hope that it isn’t another 15 years of near-dormancy before another full-length surfaces." [S.L.Weatherford / Heathen Harvest] "A colossal record like this doesn't get made in a day, or even a year for that matter. It's actually been 15 years since Yen Pox has produced a new album. There was an excellent collaborative project the American industrial-ambient technicians did with the German pioneers Troum; and M.V. Hensley from Yen Pox has released a handful of albums under his moniker Blood Box. But, the last proper Yen Pox album, New Dark Age, arrived in the cold months of 2000. Not quite as slow in production as Giancarlo Toniutti, who took well over 20 years to issue a new solo album. But like Toniutti's immaculately conceived electro-acoustic wastelands, the records of Yen Pox are the stuff of epochal change, slowly revealing themselves through the dark veil between this world and another, or as the title implies between the horizon and the abyss. The scope of this work is suitably grandiose, following the template for the entire dark ambient genre that Yen Pox helped sculpt so many years ago alongside the likeminded projects Lustmord and Inade. The horror-laden drones that Yen Pox conceives are hardly static, as they spiral as if thrown from stable orbit by the all-consuming gravity of a black hole. The deep female vocal utterances are courtesy of the gothic siren Ruby Smith (aka Dark Muse) whose bellows and moans sporadically break through the dense clouds of Yen Pox' subterranean echo and reverb as the only ghosts of humanity to be found within this album. Bleak and heavy, to say the least." [Aquarius Records]	2015	€13.00
YOKO ONO / THE GREAT LEARNING ORCHESTRA	Selected Recordings from Grapefruit	do-LP	Licenced from and 100% approved by YOKO ONO, this is the first official album with recordings based on ONO's 1964 collection of texts, event scores and drawings "Grapefruit", a foundational cornerstone of what became known as conceptual art, and enveloping the orbits of Fluxus and experimental music. Performed by THE GREAT LEARNING ORCHESTRA which has during the 25 years of its existence worked with GAVIN BRYARS, TERRY RILEY, PAULINE OLIVEROS, J.G. THIRLWELL, ARNOLD DREYBLATT a.o. Originally self-published in 1964 in a limited edition of 500 copies under YOKO ONO's own imprint, Wunternaum Press, and later reprinted in expanded editions, the collection of over 230 texts, event scores and drawings that comprise "Grapefruit" has long been considered a foundational text in what became known as Conceptual Art, and envelops the orbit of Fluxus and experimental music. Though comparisons to JOHN CAGE may seem obvious, ONO's first attempts at textual composition actually pre-date her first encounter with the American composer by around a decade and have evolved free from CAGE's influence. Another factor that sets these scores apart from associated forms of verbal notation from the same period (like LA MONTE YOUNG's "An Anthology Of Chance Operations" – with a contribution from ONO - or GEORGE BRECHT's "Water Yam", both from 1963) is ONO's ambivalence towards the necessity, or even possibility, of their physical realization – insteadthe idea being that the realization should take place in the mind of the reader ("Music of the Mind" is also the title of the current traveling exhibition which opened at Tate Modern, London in 2024). However, a number of pieces from "Grapefruit" function very well as performance or event scores, with several of them becoming mainstays of ONO's concerts and performances throughout the early to mid 1960s. But hardly any performances have been recorded and released on disc (one notable exception being SONIC YOUTH's recording of "Voice Piece For Soprano") – so, 60 years after "Grapefruit" first appeared, "Selected Recordings From Grapefruit" is the very first full album of pieces selected from the many sections of the book. The sonic realizations presented here are of a number of different kinds, encompassing studio-based ensemble performances, but also location, environmental and field recordings (and at times combinations of these), as the scores themselves dictate, and for the most part recorded live and acoustically, such that the performances, actions, situations and environments that you hear are real. The accompanying booklet with rare performance photos and some original typewritten scores from ONO's personal archive also includes the text instructions for each piece - thus allowing the listener to make a connection between the imaginative engagement and creative activity executed by the performing members of THE GREAT LEARNING ORCHESTRA and the resulting recording. With 20 tracks and approx. 85 minutes duration, "Selected Recordings From Grapefruit" finally brings to ear some of the most important and influential 20thcentury avantgarde art! ----- Yoko Ono is an artist, musician, composer and peace activist, born in Tokyo, Japan in 1933. She was active with the international avant-garde music, art, and performance scenes of the early 1960s, organising a series of important events in her New York loft, also active in Tokyo and London, and later becoming a key figure within the Fluxus network of artists. Her 1964 book of instructions, drawings and texts Grapefruit, is regarded as a cornerstone of what became known as conceptual art. Her solo albums, including Yoko Ono/Plastic Ono Band (1970), Fly (1971) and Approximately Infinite Universe (1973) have proved to be highly influential on the emergence of punk, post-punk, new wave, noise and a wide range of later experimental popular musics. She has staged many high-profile campaigns to promote world peace, including the international WAR IS OVER! If you want it billboard campaign (1969), and the proclamation of the conceptual state of Nutopia (1973), in collaboration with John Lennon, and the IMAGINE PEACE TOWER, near Reykyavik, Iceland (2007). As an artist, she has exhibited at numerous galleries, museums and institutions internationally. In recent years, this has included a series of retrospective exhibitions, including "YES YOKO ONO" at Japan Society, New York (2001), "Yoko Ono: One Woman Show, 1960 – 1971" at the Museum of Modern Art, New York (2015) and "Yoko Ono: Music of the Mind" at Tate Modern, London (2024). ----- The Great Learning Orchestra is an ensemble based in Stockholm, Sweden, which has been organising performances, workshops and events for 25 years. Essentially a network where musicians and artists come together to perform exploratory music, which centres around practices of listening. The ensemble is self-selecting from a list of over 100 musicians for each new project. The GLO was founded in 1999 by Leif Jordansson and Pelle Halvarsson and since its inception has performed a large variety of contemporary and experimental works. The group has worked with Gavin Bryars, Terry Riley and Pauline Oliveros, and in recent years has collaborated with and commissioned new work from J.G. Thirlwell, Arnold Dreyblatt, Christina Campanella and Leah Asher amongst others. Several musicians, composers and artists have also contributed to the A4 Project, which investigates the possibilities of scores written to fit on a single side of A4 paper. The orchestra's name is derived from British composer Cornelius Cardew's work The Great Learning, a large-scale experiment in social music making, and the ensemble is in many ways influenced by this legacy of openness, experimentation and participation. Credits: All compositions by Yoko Ono Copyright by Yoko Ono 1964, 1970, renewed 1992, 1998 Produced by Robin McGinley Recorded, engineered, mixed and assembled by Ricardo Atienza, Niklas Billström, Robin McGinley and Leif Jordansson Mastering and lacquer cut by Kassian Troyer at D&M, Berlin Artwork concept by Thomas Herbst Layout and design by kaidoh https://karlrecords.bandcamp.com/album/selected-recordings-from-grapefruit	2025	€26.00
YOUNG GODS, THE	The Young Gods Play TERRY RILEY in C	do-LP + CD	The Young Gods release a record with Two Gentlemen, Play Terry Riley In C. Needless to say this is a fertile meeting between two monuments who have helped shape the cutting-edge music of the last few decades. Terry Riley, born in 1935, is the cornerstone on which a considerable number of artists have relied to liberate their relationship to the process and methods of creation. In the same way, The Young Gods revolutionized, from the second half of the 1980s, their relationship with rock music by converting guitars into samplers. Composed and premiered in 1964, In C is a major piece in the contemporary music repertoire of the second half of the 20th century, and a pivotal moment in its history. The score for In C is reduced to 53 musical phrases, which each musician must repeat in the order in which they appear, as many times as he or she wishes; the instrumentation is not specified; the impetus for the performance is not given by an orchestral direction, but by the musicians listening to one another. A perfectly open work, In C was the first work to offer a successful synthesis of repetition and variation. The Young Gods first approached In C in 2019 at the invitation of Benedikt Hayoz, director of the Landwehr wind orchestra in Freiburg -- this resulted in a performance of the work with 85 musicians. Other approaches were made with Ensemble Batida, a Geneva-based contemporary music collective, with the dance company Alias, and with the documentary filmmaker Peter Mettler, for his film Petropolis. In this album, The Young Gods offer a new interpretation of In C, as a trio and with their own sound vocabulary -- electronic instruments, drums, and guitars. They have chosen to follow the score and Terry Riley's indications, while allowing for some additional freedom, for example in terms of managing the sound intensity -- which evolves, in several long cycles, from almost silence to eruption and back again. They have also chosen to maintain a constant tempo throughout the live performance by building up a hypnotic flow and a continuous musical presence that meanders and oscillates in perpetually changing rings and atmospheres that transform in a perfectly fluid manner. By developing through a series of crescendos and decrescendos, by playing on the repeated addition and removal of musical phrases, by working sensitively on the sound quality (timbre, grain, alterations) of its elements, the piece aligns a series of ascents, ecstatic plateaus and lulls that give the work as a whole all the characteristics of a living form. Double LP version includes CD." https://www.twogentlemen.net/products/the-young-gods-play-terry-riley-in-c-2/ https://theyounggods.bandcamp.com/album/the-young-gods-play-terry-riley-in-c	2022	€32.00
YRSEL	Abraxas	CD	"The album «Abraxas» is recorded during 2011-2013 and contains some of the bands most challenging and yet accessible music so far. On this album the band has taken in some guests to contribute with sounds. Denis Del Nista (Moon, Burning Emptiness label) appears with sounds on the track «Simon Magus» and Alice Dourlen (Chicaloyoh) contributes with vocals on the tracks «Asat» and «Nequaquam Vacuum». YRSEL is a collaboration between Julien Louvet (Austrasian Goat, Death To Pigs, 14:13) and CJ Larsgarden (Ondo, APF, Forest City). Though hailing from different musical genres and from France and Sweden respectively, the two artists bonded following a split release on the label Burning Emptiness. YRSEL create complex, multi-layered and atmospheric music that fully explodes the genres of drone, doom and electronica resulting in a glacial melt of sound and texture." [label info] www.pactasuntservanda.se "A duo from France and Sweden, consisting of Julien Louvet (who you might know from Austrasian Goat, Death To Pigs, 14:13) and CJ Larsgarden (whom we know as Ondo, APF and Forest City), who already released two albums in 2010 and played some concerts shortly after in France and Belgium. A collaboration of humans meeting up and not gigabytes being exchanged. They spend two years making this album of nine tracks, which lasts nearly 80 minutes (and it is also available as a double CD). Instruments aren't specified as such, but me thinks there is lots of guitar sounds, electronics, processed acoustic instruments and such like. I wouldn't bet my life on it, though. There is guest vocals by Alice Dourlen on 'Asat', but I must admit I wasn't blown away by that piece. Her vocals are drenched in reverb to add something mysterious to the music but it's a bit too much, maybe because of the length of the piece - seventeen minutes. All of these pieces are hardcore atmospheric: lots of sustain on the strings, lots of reverb in and out of place, mumbling vocals and the overall color is grey towards black, rather than towards white. Perhaps doom drone is the best description of this. I enjoyed it however, maybe because I was trying to continue to read 'Game Of Thrones' (or whatever it is called) and Yrsel provided the best bleak soundtrack for a book on murder and deceit, and when it came to vocals here, I was a bit less interested, but mainly because it wasn't my cup of tea. It's music that works well on CD, I thought, as you flow from one piece into the next, rather then interrupt your flow and switch to the next side of the record. Very nice indeed, very dramatic." [FdW/Vital Weekly]	2013	€13.00
	Abraxas	do-LP	"The album «Abraxas» is recorded during 2011-2013 and contains some of the bands most challenging and yet accessible music so far. On this album the band has taken in some guests to contribute with sounds. Denis Del Nista (Moon, Burning Emptiness label) appears with sounds on the track «Simon Magus» and Alice Dourlen (Chicaloyoh) contributes with vocals on the tracks «Asat» and «Nequaquam Vacuum». YRSEL is a collaboration between Julien Louvet (Austrasian Goat, Death To Pigs, 14:13) and CJ Larsgarden (Ondo, APF, Forest City). Though hailing from different musical genres and from France and Sweden respectively, the two artists bonded following a split release on the label Burning Emptiness. YRSEL create complex, multi- layered and atmospheric music that fully explodes the genres of drone, doom and electronica resulting in a glacial melt of sound and texture." [label info] www.pactasuntservanda.se "A duo from France and Sweden, consisting of Julien Louvet (who you might know from Austrasian Goat, Death To Pigs, 14:13) and CJ Larsgarden (whom we know as Ondo, APF and Forest City), who already released two albums in 2010 and played some concerts shortly after in France and Belgium. A collaboration of humans meeting up and not gigabytes being exchanged. They spend two years making this album of nine tracks, which lasts nearly 80 minutes (and it is also available as a double CD). Instruments aren't specified as such, but me thinks there is lots of guitar sounds, electronics, processed acoustic instruments and such like. I wouldn't bet my life on it, though. There is guest vocals by Alice Dourlen on 'Asat', but I must admit I wasn't blown away by that piece. Her vocals are drenched in reverb to add something mysterious to the music but it's a bit too much, maybe because of the length of the piece - seventeen minutes. All of these pieces are hardcore atmospheric: lots of sustain on the strings, lots of reverb in and out of place, mumbling vocals and the overall color is grey towards black, rather than towards white. Perhaps doom drone is the best description of this. I enjoyed it however, maybe because I was trying to continue to read 'Game Of Thrones' (or whatever it is called) and Yrsel provided the best bleak soundtrack for a book on murder and deceit, and when it came to vocals here, I was a bit less interested, but mainly because it wasn't my cup of tea. It's music that works well on CD, I thought, as you flow from one piece into the next, rather then interrupt your flow and switch to the next side of the record. Very nice indeed, very dramatic." [FdW/Vital Weekly]	2013	€16.00
Z'EV [ZEV]	Heart Beat Ear Drum	DVD	“Heart Beat Ear Drum” is a feature length documentary about the late artist and musician Z’EV (1951-2017), known for his punk era scrap metal music – an extraordinary range of acoustic phenomena resulting in trance-inducing sounds. This documentary shows how his music changed and grew and how his personal journey led him to the margins of art and the depths of heart. From 2007-2015, director Ellen Zweig followed Z’EV, shooting concerts and interviews, and collecting archival footage. In addition to interviews with Z’EV, there are interviews with a community of artists who have known him since the 1970’s, curators who have encountered him in the 1990’s, and younger people who have only heard his recorded music or read his philosophical texts (Bob Bellerue, Bow Gamelan Ensemble, HATI, Barbara Stevini, Simone Forti, Zach Layton, Carl Stone, Ned Sublette, Johanna Went and more). Z’EV began with a “wild style”, crashing and throwing pieces of metal to make sound. He collected the materials for his art at scrap yards. 30 years later, almost all the scrap yards are closed. Z’EV now uses mallet percussion to explore acoustic phenomena. Z’EV was a crusader: for art, for trance meditation, and for living a thoughtful life. His found object aesthetic made us see art in all of the objects around us. His art activities included drumming, sculpture, gardening, even cooking. This film is divided in chapters and organised with both a narrative and a digressive structure. The structure is topic based, not strictly chronological. The first half of the film uses archival concert footage and interviews to establish Z’EV’s place in the world of art and music. The second half uses contemporary concert footage and interviews to explore the changes that led Z’EV to a more contemplative style. The film ends with an extended concert. There is music throughout the film, but at the end, you are immersed in the music and in Z’EV’s exploration of resonance. Director: Ellen Zweig Co-Editor: Lili Chin Sound Design: Ron MacLeod DVD case with inserts. PAL, Region 0. https://coldspring.co.uk/2019/12/zev-heart-beat-ear-drum-dvd/	2020	€17.50
Z'EV / DAVID LINTON	Untitled	CD	Diese CD erschien zum Anlass des - leider sehr mässig - besuchten Konzertes in Bremen am 11.November 2006, wo die Besucher Zeuge eines fantastischen DAVID LINTON-Konzertes werden durften. Auch die CD überzeugt mit 4 Stücken: ein kurzer obskurer Z'EV live-Mitschnitt mit cut-up voices aus London vom April 1990, ein exzellentes fast 20minütiges neues Power-Ätherdrone-Stück (Zusammenarbeit von LINTON und Z'EV), ein Live-Mitschnitt einer LINTON-Performance (New York Mai 2006), und ein ebenfalls sehr frischer Remix von LINTON von Z'EV source-Material. Ein kleiner, fast unauffälliger Release, der dem geneigten Drone-Fan aber sehr ans Herz gelegt sei!! "A four track CD released in conjunction with a live concert on the 11. November 2006 in the 'Lagerhaus' Bremen, feat. Exclusive tracks by Industrial Music legend Z'EV and New York based percussionist and multimedia artist DAVID LINTON who has worked with among others: Lee Ranaldo, Glenn Branca, Rhys Chatham, Diamanda Galas, Christian Marclay and Elliot Sharp. Each artist is featured with a solo track plus a remix of the other artists material. Limited edition of 500 numbered copies. Playing time: 60:36 min. Track listing: 1. Z'EV 'Soliloquy #1' 11'11 2. Z'EV 'Not Nil' 19'58 3. DAVID LINTON 'Emerald Portal Excerpt - Part 1' 22'27 4. DAVID LINTON '7/11 elective-RE:mix_Z'EV' 7'00" [label info]	2006	€12.00
Z'EV & HATI	Heart of a Wolf	do-CD	"The second collaborative effort between an industrial legend Z'EV and Polish sound artists using the moniker Hati. Two excellent live performances captured on silver and black discs. The Torun gig is a very dynamic percussive adventure, whereas Gdansk concert concentrates on building slow-moving images. This special 2CD edition is limited to 423 copies only." [label info]	2011	€13.00
ZEITKRATZER	(Old School) John Cage	CD	" 'Four' (1992), 'Five' (1988), 'Hymnkus' (1986). Zeitkratzer directed by Reinhold Friedl: Frank Gratkowski (bassclarinet, clarinet), Hayden Chisholm (clarinet), Franz Hautzinger (trumpet), Reinhold Friedl (piano), Maurice de Martin (percussion), Burkhard Schlothauer (violin), Anton Lukoszevieze (cello), Uli Phillipp (doublebass), Ralf Meinz (sound). Recorded live at Huddersfield Contemporary Music Festival, UK, November 26, 2006. Recorded and mixed by Ralf Meinz and Reinhold Friedl, produced by Burkhard Schlothauer, executive producer: Reinhold Friedl.''The internationally acclaimed 'hilarious releases' [vital weekly] of Zeitkratzer records will continue with the new series [old school]. The first two CDs, dedicated to the music of John Cage [zkr0009] and James Tenney [zkr0010] are now released together. The collaboration of Zeitkratzer with William Bennett (Whitehouse) [zkr0007], recorded live in 2009 in Marseille, France and Den Haag, Netherlands, will follow this summer. Later in 2010, the [old school] series will continue with two more releases, dedicated to the music of Alvin Lucier [zkr0011] and Morton Feldman [zkr0012] respectively. John Cage's compositions have been part of Zeitkratzer's repertoire since the very first day. The pieces presented here justify Zeitkratzer's reputation as sound specialists. Avant-garde composer Cage is played in a conservative, precise and sensual way, apart from all philosophical ambitions, and hopefully as seductive as a Schubert quintet! The 'Wire Magazine' acclaimed: Zeitkratzer convinced us that CageÔs music can still live with all its complexities, stripped of the debris of its iconic-ironic status, if we only give ourselves time, space and ears to hear !" [label info] www.zeitkratzer.de "So far we learned that Zeitkratzer played new scores by current artists, such as Alva Noto, Francisco Lopez and John Duncan (to name just three) or interpretations of works by Lou Reed and Throbbing Gristle (to name another two). Perhaps its merely a logical next step that they start playing modern classical music from the 'old' school. Coming up are works by Alvin Lucier and Morton Feldman, but the new series '[Old School]' start off with John Cage and James Tenney. From Cage they performed three pieces, all composed in the last years of Cage's life, a highly productive era. It would have been nice to see them play say 'Cartridge Music' or 'Variations', but here they go for the pieces 'Four', 'Five' and 'Hymnkus'. The first and the third last thirty minutes and 'Five' only five minutes. All of these pieces are rather 'open' for interpretation. It would be a bit far out to explain the way they work, with time frames and how to play them, but its exactly the sort of material that Zeitkratzer is happy with. The ensemble's instruments (bass clarinet, clarinet, melodica, piano, trumpet, percussion, violin, violincello and double bass), played by those who have a background in improvised music, are well cut to play music that leaves much room for the players to choose their own sound material within given time frames. In 'Hymkus' they stay close to the ensemble feeling with repeating notes on the wind instruments, but in 'Four' they go all out. Wildly scraping of instruments, improvised playing of wind instruments and all of that making a great piece. The short 'Five' is along similar lines, but perhaps a bit more structured - as per Cage's instructions." [FdW / Vital Weekly]	2010	€14.00
	Zeitkratzer performs Songs from 'Kraftwerk' and 'Kraftwerk 2'	LP	Format: 180gr LP incl. DL code + insert, 500 items Release date: march 24th 2017 #DOUBLE BIRTHDAY RELEASE !! KARLRECORDS celebrates its 10th birthday, ZEITKRATZER even its 20th! And the party starts with the necessary re-interpretations of early compositions by electronic pioneers KRAFTWERK. Founded in 1997 by REINHOLD FRIEDL, ZEITKRATZER have since been creating an impressive catalogue of recordings that embraces 20th century avant-garde composers (CAGE, STOCKHAUSEN, LUCIER) as well as electronic artists (CARSTEN NICOLAI, TERRE THAEMLITZ) or underground experimentalists like THROBBING GRISTLE or COLUMN ONE. In their 20th anniversary year, the critically acclaimed ensemble will release a series of diverse albums that will explore new grounds in the typical, adventurous zeitkratzer way – the first of these albums is dedicated to KRAFTWERK and their early, kraut-esque albums “Kraftwerk” and “Kraftwerk 2”. As KRAFTWERK never re-released these albums, ZEITKRATZER gave its best to cover the first tranche of the songs (second tranche to come…). Recorded in Marseille / France in May 2016, the six tracks reveal a bucolic and even psychedelic aspect of the ensemble that’s mostly known (or feared) for its interpretatory and aesthetic acerbity. And yet there’s no doubt that “Songs From The Albums „Kraftwerk“ And „Kraftwerk 2“ turned out a true ZEITKRATZER recording in the best and full meaning! zeitkratzer directed by Reinhold Friedl Frank Gratkowski / flute, clarinets, Elena Kakaliagou / french horn, Hilary Jeffery / trombone, Reinhold Friedl / harmonium, piano, Didier Ascour / guitar, Maurice de Martin / drums, Lisa Marie Landgraf / violin, Burkhard Schlothauer / violin, Elisabeth Coudoux, violoncello, Ulrich Phillipp / double bass Recorded and mixed by Martin Wurmnest Mastered & cut by Mike Grinser at D&M, Berlin www.karlrecords.net	2017	€18.00
	Serbian War Songs	LP	zeitkratzer and its special guests SVETLANA SPAJIĆ (voice), DRAGANA TOMIĆ (voice) and OBRAD MILIĆ (voice, diple, gusle) present traditional Serbian songs from and about World War I. Within its 20 years of existence, REINHOLD FRIEDL’s ensemble zeitkratzer has proved its interpretatory mastership on a wide range of fields such as contemporary / avant-garde composers, electronic artists, industrial underground – and, probably most surprising on this list, also in traditional music / folklore as documented on the two albums “Volksmusik” and “Neue Volksmusik” . For “Serbian War Songs”, a selection of traditional songs from and about World War I, the “modern composition supergroup” (THE WIRE) have invited some special guests: the renowned singers SVETLANA SPAJIĆ and DRAGANA TOMIĆ (who both worked a.o. with ROBERT WILSON) and the diple / gusle player OBRAD MILIĆ. REINHOLD FRIEDL and SVETLANA SPAJIĆ (probably the most acknowledged expert for traditional songs in Serbia) selected some traditional Serbian songs from and about World War I, and OBRAD MILIĆ contributes „Assassination In Sarajevo“, a song in the classic epic form he had learnt from his father Bogdan, a famous gusla player at the beginning of the 20th century. Commissioned by Berlin’s Haus Der Kulturen Der Welt, the performance was recorded and mixed by longtime zeitkratzer sound engineer MARTIN WURMNEST and mastered by MIKE GRINSER at D&M. zeitkratzer directed by Reinhold Friedl Frank Gratkowski, bassclarinet, clarinet I Hild Sofie Tafjord, french horn I Hilary Jeffery, trombone I Reinhold Friedl, piano I Maurice de Martin, drums, percussion I Lisa Marie Landgraf, violin I Burkhard Schlothauer, violin I Nora Krahl, violoncello I Ulrich Phillipp, doublebass + special guests: Svetlana Spajić, voice Dragana Tomić, voice Obrad Milić, voice, diple, gusle recorded and mixed by Martin Wurmnest at Haus der Kulturen der Welt, Berlin, January 16, 2016 produced by Reinhold Friedl mastered by Mike Grinser at D&M, Berlin	2017	€18.00
	Zeitkratzer performs Songs from the Albums 'Kraftwerk 2' And 'Kraftwerk'	LP	2nd volume of „modern composition supergroup“ (The Wire) ZEITKRATZER's re-interpretations of early compositions by electronic pioneers KRAFTWERK. In more than two decades ZEITKRATZER has created an astonishing broad catalogue from the obligatory (20th century avant-garde composers like CAGE or STOCKHAUSEN) to the unexpected (electronic artists such as CARSTEN NICOLAI, TERRE THAEMLITZ or underground experimentalists like THROBBING GRISTLE and KEIJI HAINO) – but hardly anyone was prepared for the ensemble’s choice of early KRAFTWERK pieces! When volume 1 was released in 2017, ZEITKRATZER founder and director REINHOLD FRIEDL announced that there'll be a volume 2 of course – and here it is:: from the opening drony horns of „Harmonika“ to the subtle guitar of the album closer „Wellenlänge“, the 4 tracks own all the interpretatory and aesthetic acerbity the ensemble is known and praised for. The first album made it immediately into “The Wire office ambience” playlist and to the “Best of Bandcamp Contemporary Classical Releases”: “ZEITKRATZER’s interpretations are bouncy, horn-driven motorik grooves, static explorations of pointillistic overtones, breathy Zen-like meditations, and rollicking rhythms.” The Spanish Rockdelux concluded: “Keep close and be happy to get more!” Sonic Seducer attested ZEITKRATZER to “uncover unexpected potential. It’s a blessing that the next KRAFTWERK is already announced!” And here it is! Now you can listen to all the music of the first two KRAFTWERK albums “as gloriously played as one could ever desire” (Vital Weekly). Recorded live at HELLERAU - European Centre for the Arts, Dresden in january 2019, „zeitkratzer performs songs from the albums „Kraftwerk 2“ and „Kraftwerk“ “ delivers the compositions that were still missing to complete zeitkratzer's stunning take on the early, hybrid kraut-esque electronic avantgarde albums “Kraftwerk” and “Kraftwerk 2”. Mission accomplished! A must-have. As German radio SWR agreed: “ZEITKRATZER is serious music turned from stiff to joy!” https://karlrecords.bandcamp.com/album/zeitkratzer-performs-songs-from-kraftwerk-2-and-kraftwerk	2019	€18.00
ZOS KIA / COIL	Transparent	CD	ZOS KIA was formed by John Gosling (MEKON), John Balance (COIL) and Min - with guest Peter 'Sleazy' Christopherson (THROBBING GRISTLE). Their one and only album, Transparent, was released August 23rd 1983 in a cassette only edition on the now defunct Nekrophile label, Austria. They were the first released recordings of both COIL and ZOS KIA. It was reissued years later by COIL (Threshold House / Eskaton) in an edited edition. The entire recordings are now released on CD/vinyl for the first time and are completely remastered from the unedited tapes. Includes two previously unreleased bonus tracks by AKE (pre-ZOS KIA). The music on Transparent is genuinely unsettling and disturbing, with a more primal Industrial feel than the Coil album which followed; 'Scatology'. An essential insight into the very early work of these extraordinary artists and an undeniable link between Coil and Throbbing Gristle. Double vinyl edition in a sumptuous gatefold sleeve with 12" booklet of unseen images, with download card. CD edition presented in a 6-panel digipak with booklet containing unseen images. CD Tracks: 1. ZOS KIA 'Sicktone' \| 2. ZOS KIA 'Baptism Of Fire' \| 3. ZOS KIA 'Violations' \| 4. ZOS KIA 'Poisons' \| 5. ZOS KIA 'Truth' \| 6. COIL / ZOS KIA 'Sewn Open' \| 7. COIL / ZOS KIA 'Sicktone' \| 8. COIL / ZOS KIA 'Silence And Sorcery (Section)' \| 9. COIL / ZOS KIA 'Truth (Version)' \| 10. COIL / ZOS KIA 'Stealing The Words' \| 11. COIL / ZOS KIA 'On Balance' \| 12. AKE 'No Mas' \| 13. AKE 'Rape Live @ Equinox' www.coldspring.co.uk	2017	€13.00
ZSOLT SORES	Nemo Point Soundmap	do-CD	Representing Ahad's Flux Worlds 1, the lengthily titled 'Nemo Point Soundmap...' album is the very latest solo offering from this Hungarian sonic traveller now based in Berlin, Zsolt Sőrés. Spread over the two discs are seven pieces that take a combination of viola, bass, piano strings, voice, mellotron, dictaphone, percussion and all manner of other instrumentation and objects into a realm where inner space folds in on itself and unwittingly assumes the guise of multitudinous journeys to those far-reaching points many a shaman (sonic or otherwise) has attempted to draw from. Despite his background in academic music, Zsolt has always broken beyond this with the help of a deep-seated interest in kosmische music, psychedelia and the kind of improvisational approach responsible for having produced artists as wide-ranging as AMM, This Heat and Organum. Also, these days, a regular collaborator with Zappi of Faust, past credits include collaborative work with Jean-herve Peron of Faust, Faust themselves, Franz Hautzinger, Christian kobi, Adam Bohman, Theme and many more. He also works with Hilary Jeffery in the fully immersive wall of stream-of-consciousness sound that is Inconsolable Ghost (who once had a cassette released by Fourth Dimension Records). If anybody could be heralded as a true practitioner of what could be best described as transitional music in its purest form, then Zsolt must be that artist. Fourth Dimension Records and Zsolt's own Hinge Thunder are happy to help bring the latest mapping of this particular sonic multiverse to your ears. Released in January 2023. Note that Ahad's Flux Worlds 2 will follow on vinyl in February 2023. It will also be joint-released by Fourth Dimension Records & Hinge Thunder. Both releases are being published with the support of the DAAD Artists-in-Berlin programme. https://hingethunder.bandcamp.com/track/nemo-point-soundmap-for-terrestrial-melanoheliophobics	2023	€16.00