Search results for "artwork"
"artwork" entries in albums descriptions
| Artist |
Album |
Format |
Description |
Year |
Price (incl. 19% VAT) |
|
| AALFANG MIT PFERDEKOPF |
Kindspechleber |
LP + CD |
six years after the 7" on Drone Rec. here's the first LP for this german experimental / electro-acoustic drone project (by MIRKO UHLIG), wo loves to work with obscure / surprising / dadaistic found sounds & delicate drones, creating disturbing & dark'n'beautiful atmospheres at almost the same time; quite unique stuff, a droney mind- & earplay.... comes with bonus CD & appropriate artwork from ROBERT SCHALINSKI (COLUMN ONE)
|
2012 |
€20.00 |
 |
| AGLAIA |
White Maps |
CD |
recordings made 03.2008 - 06.2009 by this Italian transcendental ambience duo, artwork by KATI ASTRAEIR
|
2009 |
€13.50 |
|
| 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 |
|
| ALIO DIE |
Horas Tibis Serenas |
CD |
the third chapter in the "Castles Sonorisation Series", beautiful calm ambience based on sacral choirs & harmonies mixed with field recordings,
this has a somehow "middle age" character and we can't think of anything that sounds similar to this..
- appropriate artwork; music for sunrises & more! lim. 500
|
2010 |
€15.00 |
|
| ALLETT, JACK |
The Object isn't there |
LP |
two side-long pieces by this experimental guitar-player from London, who is creating a kind of minimally pulsing Krautrock-drone dub, melodic and uplifting, merging hypnotic guitars and electronics... hypnotic ambient Pop, inspired by the phenomenon of hallucinations; comes with appropriate artwork by GRAHAM LAMBKIN (THE SHADOW RING, etc.); ed. of 300 copies
|
2017 |
€18.00 |
|
| 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 |
|
| AMON |
Nona |
maxi-CD |
BACK IN STOCK FOR SPECIAL PRICE! Mini-album of Italians best dark ambient project !
large 10" Cover sleeve, extra CD sleeve, 21min one-tracker, fabulous artwork by DANIEL CROKAERT (Mystery Sea)
|
2003 |
€6.50 |
|
| ANEMONE TUBE |
Golden Temple |
CD |
third part in the "suicide series" (that started with 'Dream Landscapes'), merging field recordings from Japan and China with electronics and feedback; a thoughtful work analysing todays consumerism and capitalistic 'landscapes' and the alienation from our archaic and mythological heritage... strongly influenced by PASOLINI's "Medea", harsh and destructive industrial soundscapes are the main component of this ambitious work... luxurious artwork + 12p. booklet
|
2016 |
€13.00 |
|
| |
The Three Worlds - Allegory of Vanity |
CD |
first part of a trilogy collecting rare cassette-only material from 1997-2013, summarising this under the existentialist worldview of the Theravada Buddhism of the 14th century, containing the three levels of existence of all beings; the 5 older tracks on this CD are "a perfect representation of Anemone Tube’s early old-school industrial / power-electronics phase, and yet proof that both the musical approach and the topical background were already fully developed at that stage." lim. 300, excellent artwork
|
2017 |
€12.50 |
|
| ARTHUUR EN ENNO |
Made in Hilversum |
mCD-R |
three new tracks by the new project with Drone Records-artist MOHR, comes in slimline-DVD-box with handmade artwork. Strange sounds from the 5th dimension using lots of radio-source materials...
|
2008 |
€7.00 |
|
| AUBE |
Hydrophobia 1993 |
LP |
previously unreleased material composed, recorded and mixed with water sound only, comes on water blue vinyl, lim. 300; artwork by ABBY HELASDOTTIR (GYDJA) - singled sided LP!! (this is actually a remix of the Hydrophobia cassette material [Vanilla Rec.] that was supposed to be released on CD by Cheeses at the early 2000's, but never came out..)
|
2021 |
€20.00 |
|
| BAD SECTOR |
Dolmen Factory |
CD |
re-issue of this long deleted album (Membrum Debile Propaganda, 2000), new artwork (the typical Faria-styled oversized cardboard cover) and one bonus-track (rec. 1999, remixed 2008), edition of 500
|
2008 |
€12.50 |
|
| BAKER, AIDAN |
The Sea swells a bit |
do-LP |
the first release in the new "Mind Travels" series of this French label is a vinyl re-issue of AIDAN BAKER's stunning album from 2006 => three longs tracks about the deepsea, the ocean, dying sailors, dense & inapproachable, dark & mysterious, working with mesmerizing layers & circles of long guitar loops, arising in slow Crescendos... beginning with track 2 smooth percussion & bass-grooves are pervading the drones, the whole gets slightly psychedelic... comes with new artwork & live bonus track!
|
2015 |
€20.00 |
|
| |
 Same River Twice |
7inch |
finally the re-edition of one of the most beautiful Drone EPs (both in sound & artwork) is out, more than 10 years after its first appearance this was the also the very first VINYL release of AIDAN BAKER => two pieces of shimmering guitar drone harmonics, with titles inspired by literature phrases; filed under: Poetic & trancy day-dream-drones ~ lim. 300, colour vinyl, new artwork by AIDAN himself !!
|
2015 |
€7.50 |
|
| BARAKA[H] |
ILLUMINESCENCE |
maxi-CD |
first ever solo-release by the TROUM and ex MAEROR TRI member and special jubilee release for TAALEM, a 4 track, 5" 'minimax' EP with 'songlines' of ethereal, melancholic guitar drones... " a yearning for something that is absolutely not 'visible' or tangible. i don't know what it is, but there must be something hidden in the air, in the sounds, in the sensations..." - standard ed. of 200 copies; master: STEPHAN MATHIEU; artwork: HITOSHI KOJO
|
2020 |
€9.00 |
|
| BASS COMMUNION |
Sisters Oregon (first edition) |
10inch |
The newest studio material of STEVEN WILSON's experimental drone project, especially recorded for our 10" series! Based on ethereal vocal choir material the four parts of "Sisters Oregon" reach a transcendental beauty of the highest degree. first edition: 500 copies, black vinyl, excellent artwork by CARL GLOVER
- SOME LAST COPIES FOUND - SEALED!
|
2017 |
€18.00 |
|
| |
Sisters Oregon (SOLD OUT) |
10inch |
the newest studio material of STEVEN WILSON's unique experimental drone project, especially recorded for our 10" series! Based on ethereal vocal choir material the four parts of "Sisters Oregon" reach a transcendental beauty of the highest degree. Excellent artwork by CARL GLOVER. // NOW AVAILABLE the 2nd edition 300 copies on sky-blue marbled vinyl & now black cover-frame
|
2018 |
€16.00 |
|
| BERRY, KEITH |
The Cartesian Plane |
pic-LP |
another release in this lovely series (artwork painting & sound by the same artist) - the first vinyl appearance of KEITH BERRY, creating subtle & graceful drones of timeless transcension... lim. 233 copies
|
2010 |
€17.50 |
|
| BIANCHI, MAURIZIO (M.B.) |
Telmegiddo |
LP + CD |
"Apocalyptic echo-sounds" - re-issue of M.Bs last tape-composition from 1983, with a bonus CD "Bakterihabitat" containing sound sketches that lead to 'Telmegiddo" - together more than 105 min playtime, lim. and numbered 100 copies on white vinyl (out of a total ediiton of 250) with paste-on Cover, the cover image is a 1981 original M.B. artwork
|
2015 |
€20.00 |
|
| |
Mectpyo Box |
10 x CD BOX |
*.. die ultimative MB Box, sie enthält alle 10 LPs der Frühphase (1981-1984), sowie diverse rare Stücke von Compilations... / collection of all 10 LP-releases issued 1981-1984 in one box, plus a wide selection of compilation-tracks and 84 pages "booklet" / inlay cards with original artworks & collages, interviews, and essays of MB on SPK, WHITEHOUSE, TG, etc.. lim. / numb. 200 copies; last copies of the "black" re-edition from 2015 !!
|
2015 |
€165.00 |
|
| BIBLE, JEREMY & JASON HENRY |
Vryashn |
LP |
dark atmospheric ocean ambience using "underwater piano drones" by this US-duo known known from the MYSTERY SEA CDR; very beautiful stuff, excellent cover-artwork, lim. 500
|
2011 |
€18.00 |
|
| BJERGA, SINDRE & NILS ROSTAD |
Live at Moving Furniture Records |
CD-R |
two long pieces on this very limited (50 copies) CDR with handmade artwork (incl. 2 original photos): 26 min. well designed experimental drone from SINDRE BJERGA, 15 min strange acoustic guitar tunes from NILS ROSTAD, recorded on the same evening...
|
2011 |
€7.50 |
|
| BLANKET SWIMMING |
Of Form And Formlessness |
MC + object |
collector's item on a new cassette-only label from Germany, the artwork is handmade and unique and as important as the music => BLANKET SWIMMING is a one man ambient project from the States, with two slowly brewing long form drone pieces (C-60), undulating in endless waves... - the package consists of a white closeable "product" bag with all kinds of handmade elements and inlays, the white tape itself has red paint bubbles on it.. lim. 33 copies, numbered ! A must for drone- and cassette-heads
|
2023 |
€18.00 |
|
| BRUITAL ORGASME |
Experiment in functional Background Music |
LP |
this very active male/female industrial noise duo from Belgium releases their first LP on Silken Tofu! - by incorporating a wide range of different sound-sources (self build sound objects, old vinyl players, tapes, radios, etc..) they manage to create very versatile collage noise tracks with lots of atmosphere... lim. 200, comes w. silkscreened PVC sleeve & cover + download code, very nice artwork
|
2015 |
€18.00 |
|
| BRUME |
Two Characters |
10inch |
the French "atmospheric musique concrete" master on the Drone Rec.-sublabel with two highly evocative drone-pieces, full of tension & great sounds, showing a compelling densification process.. lim. 500 coloured vinyl; cover-artwork by MAL HOESCHEN (MULTER)
OUT NOW !!
|
2013 |
€12.00 |
|
| BURROUGHS, WILLIAM S. |
Nothing Here Now but the Recordings |
LP |
re-issue of this now almost historical LP from 1981 - the last release on Industrial Records (IR0016), coordinated and produced by GENESIS P-ORRIDGE and PETER CHRISTOPHERSON who put together this compilation of incredible spoken word cut up experiments and field recordings, in fact the first widely available release with BURROUGHS recordings; back in print, re-mastered audio + re-stored artwork, Clear vinyl ed. lim. 750 copies (black vinyl available too)
|
2023 |
€25.00 |
|
| CAMBERWELL NOW |
All's well |
CD |
collection of all releases of the THIS HEAT-follower (1982-86), re-mastered and re-packaged with full notes, lyrics, additional photographs and artwork.
|
2006 |
€14.00 |
|
| CAMINADA, ANSELM |
Short Frites AA |
do-mCDR & object |
cardboard box & flourescent screenprint, artwork by ANJA GERSCHER. lim./numb. 300 copies
|
2007 |
€22.00 |
|
| 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 |
|
| CHALK, ANDREW |
Everyone goes Home when the Sun sets |
CD |
a collection of 19 pieces of impressionistic ambience miniatures, often based on organ and zither (?) sounds, intimate and poetic acoustic drones that give you a warm feeling, like a "koan of lost memory and forgotten landscape.." artwork: oversized gatefold cover, mini-LP style with OBI and insert
|
2016 |
€16.00 |
|
| |
Paradise Lost |
LP |
vinyl version of the deleted cassette release from 2019 with new artwork: "the album has two side-long, untitled tracks, more floating and synth-based, ebbing and flowing in smooth melancholic textures, feat. the voice of NAOKO SUZUKI (the wife of DAISUKE SUZUKI) for the first time..." [Drone Rec.] - ed. of 300 copies
|
2021 |
€19.50 |
|
| CISFINITUM |
Devotio |
10inch |
ed. of 500, white vinyl, artwork by Tilmann Benninghaus |
2006 |
€12.00 |
|
| CISFINITUM & THE [LAW-RAH] COLLECTIVE |
[ANS]werk |
CD |
another release in this excellent series of half-split / half-collaboration releases on the French FARIO-label, who also publishes the great mag FEAR DROP; [ANS]werk is dedicated to the legendary synthesizer ANS using many amazing sounds from it; these are very dense & pulsating drone-pieces that don't sound like from a synthesizer at all !!! Comes with special (oversized) cover-artwork, lim. 500, HIGHLY RECOMMENDED !!
|
2011 |
€13.00 |
|
| CLEMENT, JODA |
The Narrows |
CD |
one long hazy dronescape based on various field recordings mainly made in Canada, very complex & rich, unidentifiable & mysterious ... ninth release in this strong series by MYSTERY SEA, dealing with "spirits of specific places"; lim. 200 handnumbered copies, beautiful full colour artwork as usual by DANIEL CROKAERT
|
2011 |
€14.00 |
|
| CLOCK DVA |
Neoteric RMX4 |
12inch |
four remixes of the 3 track CD-EP from 2016, by: JACK DANGERS (MEAT BEAT MANIFESTO), BORIS DIVIDER, WRANGLER and ADI NEWTON/CLOCK DVA himself; comes on limited white vinyl with stunning artwork
|
2019 |
€19.50 |
|
| COH |
IIRON |
CD |
a "metal" album using guitars, some stuff was recorded back in 1988-1990 during Soviet-Russia; artwork by STEPHEN O'MALLEY
|
2011 |
€14.00 |
|
| COIL |
Swanyard |
do-CD |
"Nearly 150 minutes of unreleased COIL recordings around the period 1993 to 1996, from DANNY HYDE's studio archives - artwork by STEVEN STAPLETON, from a recalled dream by JOHN BALANCE" - 23 tracks showing their work-in-progress stages, "as close as you’ll get to being in their notorious studios during the pharmaceutically-fuelled peak of the ‘90s, at the point where dark ambient, electronica and dance music were mutual bedfellows, and mutated the framework for where we are today." [Boomkat]
|
2019 |
€25.00 |
|
|
Sara Dale's Sensual Massage |
do-LP |
the complete version of COILs soundtrack for the erotic video of the same name, including 8 previously unreleased tracks and the "Themes for Derek Jarmans's Blue" material; all for the first time on vinyl! Comes in gatefold cover with artwork by STEVEN STAPLETON, lim. 500 BLACK vinyl
|
2020 |
€34.00 |
|
|
Constant Shallowness leads to Evil |
CD |
HIGHER BEINGS COMMAND: re-issue of this very expermental / noisy COIL album from 2000 (ESKATON 24), completely remastered and with new artwork, underlining the multi-dimensionality of these recordings = "Processing this sliver of electronics into a ravaged labyrinth was a trial and error process, aided by Christopherson’s visual sense of sound, stretching and manipulating it for maximum spatial disorientating. "
|
2022 |
€15.00 |
|
| |
Queens of the Circulating Library |
CD |
first official re-issue of this 'long-form-drone' album, originally released at COILs live performance as "Time Machines" in London April 2000, feat. vocals by DOROTHY LEWIS (mother of THIGHPAULSANDRA) - "the 49-minute piece unfurls in swirling, cyclical waves, tidal as much as textural, channeling the spirit of levitational minimalism pioneered by La Monte Young... " - remastered, digipack, new artwork design
|
2023 |
€15.00 |
|
| COLLEY, JOE |
Acting As If |
10inch |
over 30 minutes of very best new COLLEY material! => through these strangeness drones, the mind is thrown inside an unrecognizable and confusing realm of broken electricity and something like audible-made atmospheric pressure... - "His swarming masses, throttled rumbling, and smoldering tension are all encircling and folding in on themselves. Rhizomes of sound that speak poison. Drink up, if it doesn't kill you, it will only make you stronger." [Jim Haynes] - lim. 300 with artwork by MEEUW, special silver print on reverse board, out NOW 30.12.2022 !!! |
2022 |
€18.00 |
|
| COLUMN ONE |
AntiphoNA |
10inch |
"ANTIPHONA AD INTROITUM" - finally on SUBSTANTIA: the genius German masters of experimental dadaism & de-construction, whose releases are always a thoughtful play with hidden meanings, conceptions & contradictions => the two pieces on this mysterious 10" sound completely different (* a bewildering collage-work / * a meditative bowl-drone recording) but can be regarded as anthiponies that form a single whole => draw your own conclusions; Side A ends in a endless groove, artwork by SEAN HILLEN, lim. 500
|
2013 |
€12.00 |
|
| COPH NIA |
A Prelude to Lashtal Lace |
12inch |
the Swedish martial industrial / dark wave-ambient- folk / neo-classic hybrid with a very 'musical' four-track long-play 12", where COPH NIA continue their tradition to cover underground classics ("In a lonely Place" by JOY DIVISION) and remind on a more electronic version of MICHAEL GIRA or EDWARD KA-SPELs solo works... three tracks are exclusive to this vinyl, lim. 200 excellent cover artwork + design
|
2014 |
€16.00 |
|
| COPH'ANTAE TRYR |
Research Chronicles 2007-2009 |
do-CD |
another newcomer (for us) on the Czech label know for exceptional packaging & artworks - Russian project COPH'ANTAE TRYR mesmerize with very melancholic waves of flickering ambiences & harmonic floating structures... Highly recommended if you like emotional drones! Lim. 500, 8 panel double digipack
|
2011 |
€16.50 |
|
| CORNER, PHILIP |
Through the two more than mysterious Barricades |
LP |
two sessions recorded on piano, one from 1992 in collaboration with dancer PAULETTE SEARS (who sings and screams during the dance), one from 2004 which is heavy distorted through technical limitations.. lim./numbered ed. 318 copies using Kozo rice paper for the artwork, + two inlays
|
2014 |
€23.00 |
|
| COSEY FANNI TUTTI |
Tutti |
LP |
after the legendary "Time to Tell" MC (1982), this is only the second solo album by COSEY FANNI TUTTI, the "living artwork" of the industrial (COUM, THROBBING GRISTLE, CHRIS & COSEY,CTI, X-TG) and famous for the more technoid and seductive side of the genre..."The music production on TUTTI, like its 1983 predecessor, has a timeless quality.... it lives and breathes her insistence on exploring new sounds and techniques." [Resident Advisor] BLUE vinyl, embossed sleeve, download code
|
2019 |
€29.50 |
|
| |
Tutti |
CD |
after the legendary "Time to Tell" MC (1982), this is only the second solo album by COSEY FANNI TUTTI, the "living artwork" of the industrial (COUM, THROBBING GRISTLE, CHRIS & COSEY,CTI, X-TG) and famous for the more technoid and seductive side of the genre..."The music production on TUTTI, like its 1983 predecessor, has a timeless quality...it lives and breathes her insistence on exploring new sounds and techniques." [Resident Advisor] - CD version
|
2019 |
€16.00 |
|
| D'INCISE |
Rivages sur l'Antipode |
LP |
numbered edition of 250 copies, first vinyl release for this project doing experimental ethno-electronica; beautiful full-colour artwork & poster
|
2010 |
€12.50 |
|
| DAO + COH |
Dzerzhinsk-9 |
LP |
very early COH recordings (from 1996) with Russian DAO; lim. 500; artwork by ROBERT SCHALINSKI (COLUMN ONE)
|
2009 |
€15.00 |
|
| DAUBY, YANNICK & HITOSHI KOJO |
La Vie dans les Airs & dans les Eaux |
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 |
|
| DEAD VOICES ON AIR & SIMON FISHER TURNER |
MzMzLaLaLa |
7inch |
lim. 350 copies, Nr. 1 in the "DVOA 20th Anniversary series" ; a collaboration with British musician, composer & film-soundtracker SIMON FISHER TURNER (who created the soundtracks for six DEREK JARMAN-films, like. CARAVAGGIO, THE LAST OF ENGLAND, BLUE); excellent full colour artwork
|
2011 |
€10.00 |
|
| DEADVERSE MASSIVE |
Son of Concrete |
pic-LP |
4 track long-play 12", collab project feat. DÄLEK, DESTRUCTO SWARMBOTS, ODDATEEE.. lim. ed. / artwork PAUL ROMANO (GODFLESH, EARTH etc)
|
2007 |
€15.00 |
|
| DEAF CENTER |
Low Distance |
LP |
third full lenght album by the project of OTTO TOTLAND & ERIK SKODVIN, lim. 450 w. handmade texitled artwork! "After their last record Owl Splinters (2011) was quite an eclectic endeavor, they draw their sound back into something more quiet and minimal...Low Distance is a welcome return replete with beauty, mystery and uncertainty." |
2019 |
€35.00 |
|
| DEASY, JONATHAN |
Le Fletrissement |
MC + object |
collector's item on a new cassette-only label from Germany, the artwork is handmade and unique and as important as the music => JONATHAN DEASY is an Irish guitarist and improviser, he presents two contemplative "self-nourishing" drones with rich overtunes.. - "The degradation of a tape loop and the saturation of a driven tube created an idea of sustain, meditation and patience." - incredible package: translucent blue bag with a piece of a mirror on it, numbered ed. 30 copies
|
2023 |
€18.50 |
|
| DECONDITION |
Sukellan Tuntemattomiin Syvyyksiin |
CD |
for lovers of the Finnish harsh noise scene = the only CD by this "Freak Animal" artist, blocks of harsh noise in different layers, far away distortion / echo vocals and other founds sounds, as a whole this has quite a hypnotic / trance-inducing effect with elements repeating themselves... 13 tracks, 61+ min., 6 panel full-colour digipack with nice (abandoned industrial buildings) artwork; mastered by C-DRIK (AXIOME, etc..) - special priced now !
|
2014 |
€6.50 |
|
| DELPLANQUE, MATHIAS |
Drachen |
LP |
very moving & emotional drone muzak by the French soundartist, spreading on 7 tracks processed instrumental transcensions (from guitar, bass, melodica, kora, synths, etc.) in a rough but melancholic way, concrete elements from field recordings enrich the nostalgic and yearnful atmosphere... excellent cover-artwork, too !
|
2015 |
€16.00 |
|
| DEUTSCH NEPAL |
Tolerance |
CD |
re-issue of the third D.N. album from 1994 (Staalplaat), comes in new digipack-artwork; golden CD
|
2009 |
€13.00 |
|
| DIJKSTRA, RAYMOND |
De Schaal |
CD & BOOK |
Soundart-release by RAYMON DIJKSTRA (ex K.S.P / INDRA KARMUKA. who once had a 7" on Drone Records [DR-21]!) - with music on the CD that is somehow uncomparably strange, but builds a logic in itself; (consisting of) a brusque, inaccessible dimension of art & music, that shares some charm at the same time... lim. 200, comes with 40 page 10" sized book with collage artworks
|
2013 |
€18.00 |
|
| 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 |
|
| DROMOMANE |
Abaton |
LP |
another unseen project "avatar" from BENJAMIN BEX (aka DUKHA, etc.), if you like very emotional experimental music with androgynous vocals / voice, this is very worth to check out! - Gnawing electronic drones rub shoulders with delicate arrangements of guitar arpeggios and synth loops, carrying a passionate, at times almost extatic voice. Grégory Lelay contributed field recordings from his sojourn in the Azores, as well as the stunning artwork." - numb. ed 314 copies
|
2016 |
€15.00 |
|
| 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 |
|
| DURAND, SOPHIE & MANU HOLTERBACH |
Verres enharmoniques : un |
maxi-CD |
Great polyphonic glass harmonic-drones, a one-tracker of about 20 minutes. Professional cover-artwork. To discover !
|
2004 |
€10.50 |
|
| EARTH |
A Bureaucratic Desire for Extra Capsular Extraction |
do-LP |
the debut-recordings from EARTH (1990 Smegma Studios session) for the first time available on one release, feat. JOE PRESTON & KURT COBAIN!
Re-mastered & with artwork by STEPHEN O'MALLEY
|
2010 |
€29.00 |
|
| ELLENDE |
Unintentional Consequences |
10inch |
the second part of the trilogy that started with "Odyssey", again centered around an autobiographical text about strange experiences made in Cape Town, South Africa, in the 1970's... => multilayered, dusty, nostalgic ambience, full of warmth and melancholy... comes with excellent, somehow surrealistic / disturbing artwork (with printed stones on the sleeves, covering images of female dummy heads on the cover, with great effect), gatefold cover, 12 page booklet, lim. 150; excellent release again!
|
2021 |
€18.00 |
|
| ESPLENDOR GEOMETRICO |
Veritatis Splendor |
CD |
re-issue of classic album from 1994 (Geometrik), re-mastered & new artwork
|
2008 |
€13.50 |
|
|
Balearic Rhythms |
CD |
re-issue of album from 1996 (Geometrik), with three bonus tracks; re-mastered / new artwork
|
2008 |
€13.50 |
|
| |
Sheikh Aljama |
CD |
re-issue of album from 1991 (DAFT Records) now available ! new artwork / digipack, 4 p. booklet
|
2010 |
€13.50 |
|
| FERRARI, LUC / GOL |
Exercises d'Improvisation |
LP |
a composition from the legacy of LUC FERRARI, composed in 1977, seven "exercises" or improvisations for tape and instruments => as it was never performed before, in 2010 the GOL ensemble and BRUNHILD FERRARI (electronics) recorded these 7 pieces, *from a more meditative form, the music turns into free mental spiraling sections to finally culminate in a live musique concrete drama..* - lim. 350 copies, excellent artwork + inlay with full score, LAST COPIES in stock
|
2010 |
€21.50 |
|
| 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 |
|
| FINAL |
The Apple never falls far from the Tree |
do-LP |
new recordings from JUSTIN BROADRICKS "experimental ambient" project with some surprising tracks; lim. 300 green vinyl, gatefold-cover, excellent artwork
|
2010 |
€30.00 |
|
| FIVE ELEMENTS MUSIC |
Rishikesh |
CD |
the favoured Russian project presents field recordings from two highly interesting places in India (Ganges river, Himalaya, and the ancient city of Vrindavan), all recorded in the middle of the night - very special atmosphere; fabric-pressed CD, numbered ed. 200 copies, in the typical artwork-style (beautiful patterns from nature & natural objects) of Daniel Crokaert
|
2012 |
€14.00 |
|
| FORDELL RESEARCH UNIT / CULVER |
split |
10inch |
nice split release by the British experimental project & the Scottish ambient act! Lim. 100 copies, handmade cover w. photo sticked on it, inlay, and bonus CDR (artwork by PETE BURN / R.Y.N.)
|
2009 |
€12.50 |
|
| FRITH, FRED |
Rocking The Boat (Volume 1 Of The Fred Records Story, 2001-2020) |
9 x CD BOX |
First part of a three-box collection with 9 CDs by the ever innovative guitarist & composer (starting with "Guitar Solos", the first LP from 1974), incl. "Dropera" which is not available seperately, a big booklet (40 pages) with artwork, photographs, extensive notes and other comments by FRITH, all packed in a solid cardboard-box; 99 tracks !!
|
2021 |
€66.00 |
|
|
Crossing Borders (Volume 2 Of The Fred Records Story, 2001-2020) |
9 x CD BOX |
second part of the three-box collection with 9 CDs by the ever innovative guitarist & composer, incl. a booklet (28 pages, only in this box) with artwork, photographs, extensive notes and other comments by FRITH: Box 2 contains: Live in Japan, Speechless, Prints, Step Across the Border (film score), Impur, 2, Art of Memory II (with John Zorn), Skeleton Crew (double CD). Plus bonus CD Helter Skelter (remastered)
|
2021 |
€66.00 |
|
| |
Stepping Out (Volume 3 Of The Fred Records Story, 2001-2020) |
9 x CD BOX |
the third part of the three-box collection with 9 CDs by the ever innovative guitarist & composer, incl. a booklet (28 pages, only in this box) with artwork, photographs, extensive notes and other comments by FRITH: Box 3 contains: Technology of Tears, Propaganda, Allies, Accidental, The Previous Evening, Happy End Problem, Nowhere, Sideshow, Field Days. Plus bonus CD Inimitable (previously unreleased)
|
2021 |
€66.00 |
|
| 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 |
|
| GEINS'T NAIT & L. PETITGAND |
Like This Maybe or This |
LP |
next in the nice atmospheric soundscaping "Mind Travel" series of the French label presents a new album with a strong cinematic edge by the fruitful collaboration of "post industralist" GEIN'S NAIT and "film score composer" L.PETITGAND (who worked with WIM WENDERS and PAUL AUSTER) >= "The subject matter is certainly difficult to grasp and invites us on an inner journey while leading us to doubt and question ourselves incessantly..." ; printed inner sleeve / DL card / great artwork again!
|
2021 |
€18.00 |
|
| GERMAN ARMY |
Wakhan Corridor |
CD |
an album inspired by the mythic "Wakhan" in the North-East of Afghanistan, by the hypno-percussive industrialists with exotic touch, reminding on CONTAGIOUS ORGASM, AUBE, or a more noisy MUSLIMGAUZE... ".. Insightful tribal muzak buried in obscurity, anonymity, secularity and eternity." - lim. 300 with stunning artwork by MAURO BERCHI (Eibon Records)
|
2018 |
€13.00 |
|
| GODSPEED YOU BLACK EMPOROR! [GYBE] |
G_d's Pee AT STATE'S END! |
LP + 10inch |
"The God's have returned to rain ash upon our graves." - four epic new pieces spread on 12" and 10" vinyls, with wonderful artwork again + DL code... - "Poignant atmospherics, noisedrenched orchestration, drone, hypnotic swingtime crescendos, inexorably-layered towers of distorted clarion sound: STATE'S END encapsulates every beloved facet of the band"
|
2021 |
€27.50 |
|
| GRUNT |
Documentation : Live Assaults around Europe 2005-2008 |
3 x CD BOX |
re-issue of the box from 2009 with new artwork/packaging, feat. live recordings by this Finnish harsh noise and power electronics act, touring around Europe 2005-2008 => "A lot of good sounding live gigs, that match level of studio recordings. Various versions of songs some known from studio releases, but a lot of material never published as studio versions. Does not overlap with old live tape releases!"
|
2019 |
€25.00 |
|
| GYDJA |
Ar Var Alda (In Ancient Times) |
CD |
finally a new full length album by the recommended 'esoteric/ female dark ambient' artist from New Zealand with Icelandic roots => deep reverberation drones that reveal many details (sounds of wood + water), often with a metallic edginess, throwing up overtones and resonances like autumn leaves.. 62+ min. full of breathing, organic dark drone muzak, like a mix of LUSTMORD with ALIO DIE... lim. 200 - glossy 6 panel artwork, mastering: ROBIN STOREY (RAPOON)
|
2021 |
€13.00 |
|
| HAFLER TRIO |
Wolf Sheep Cabbage. Episode 2: Evidence Pertaining to the Creator |
7inch |
rare H30 7" - lim. 333 copies, clear vinyl, special artwork with gold printed letterpress-covers & booklet on opaque paper feat. a cryptic text by ANDREW Mc.KENZIE; remaining copies with slight damages at OBI strip or cover now for reduced price !!
|
2004 |
€14.50 |
|
| HAFLER TRIO / DITTERICH VON-EULER DONNERSPERG / KONTAKT DER JÜNGLINGE PLAYS THE HAFLER TRIO |
untitled |
do-7inch |
lim. 200 clear vinyl, usually only available on the H30-tour May 2003 through Germany, clear vinyl, numbered edition, exquisite artwork! Has rare THOMAS KÖNER & ASMUS TIETCHENS tracks on Side C / D, using HAFLER TRIO souce materials. LAST NEW COPIES FOUND !!
|
2003 |
€25.00 |
|
| HAIGH, ROBERT |
The Silence of Ghosts |
CD |
the new album by ROBERT HAIGH contains 18 tracks for 'classic' solo piano, calming poetic / melancholic miniatures with very silent synth drones in the background, so fragile.. this is all you need, sometimes... 45 min. playtime, lim. 700, mini-LP cardboard cover, artwork by ANDREW CHALK
|
2015 |
€15.00 |
|
| HATERS |
Hater Hole |
CD-R |
special artwork / bag w. debris from a live-performance 12/1991 at Generator in NYC |
0000 |
€15.00 |
|
| HELM |
Silencer |
mini-LP |
long play 12" by this London-based project with four new tracks using lots of subtle & droney percussion....comes in the typical artful silkscreened pvc sleeve with artwork by Bill Kouligas
|
2013 |
€16.00 |
|
| HIMUKALT |
Between My Teeth |
LP |
re-issue of a deleted cassette from 2018 with extremely eerie, splintered 'psychosexual electronics'..."The album is a maelstrom of ill-tempered noise and blackened frequencies, sutured to a foundation of primitive, raw rhythms. Kärkkäinen cuts up her own voice with the digital equivalent of a rusted razor blade through her proclamations of misery, rage, and desire" - comes with 12 page booklet feat. sexually explicit artwork, truly captivating and disturbing art! RE-PRESS now available!
|
2022 |
€23.00 |
|
| HIRANO, MIDORI |
Invisible Island |
LP |
second album for HIRANO MIDORI on Sonic Pieces, 11 tracks based on piano miniatures and electronic sounds & noises, adding a nice experimental edge to it.. "It's a dreamy album that seems to emanate from a fantasy full of warmth, channeling both classic Japanese ambient music and a more modern electro-acoustic sound. Midori has a special sense of creating touching, melancholic pieces that float on the borders.." - lim. 450 copies, handmade textile artwork, inner sleeve + DL code
|
2020 |
€29.00 |
|
| HOHMANN, MARTIJN |
The Hohmann Transfer |
CD |
impressive solo album by the DE FABRIEK member, centered around the theme "various forms of leaving the earth" (traveling to the cosmos, loosing consciousness, life ending..) => dense analogue drones and spirals, various field recordings of voices and found material iike the Apollo cockpit recorfdings from 1969, sea and wind sounds, "Au Claire da la Lune" (1860).... lim. to 200 copies, each copy contains a unique handnumbered signed and stamped artwork
|
2020 |
€13.00 |
|
| HOLOTROP |
Manifestation de l'Antinatalisme |
LP |
second LP (after the rare "Rites of Natema", 2016) for this German "dystopian ambience" project, extremely dark, subtle, pulsative, think of GALERIE SCHALLSCHUTZ, INADE or newer CYCLIC LAW acts.. "this lp is a sinister swan song to consumerism, eternal growth and progress, a eulogy for humanity as such..." - lim. ed of only 118 copies, excellent artwork, DL code
|
2020 |
€20.00 |
|
| HUMAN QUENA ORCHESTRA |
Natural History of Failure |
LP |
vinyl version of the third album by the amazing "apocalyptic industrial metal/doom/drone" band, feat. contributions from diverse artists like JASON ZEH, BRANDON NICKELL (AEMAE), DAVID GRAHAM (REQUIEM), etc.. lim. 250 only, genius cover-artwork
|
2011 |
€18.50 |
|
| HYBRYDS |
The Ritual should be kept alive |
CD |
expanded re-issue of "The Ritual should be kept alive" (maxi-CD from 1991) together with the other two parts of the piece and one rare bonus-track this forms now a full 70 min. album, all recorded in 1991.... this is HYBRYDS at their most percussive & hypnotic... lim. 500, digitally re-mastered, new artwork
|
2015 |
€12.00 |
|
| |
Mistrust Authority / Tectonic Overload |
do-CD |
re-issue of two HYBRYDS vinyl albums from 1996 and1998 when the project turned into more bumping rhythmic "cybernetic" industrial areas, creating a quite unique, almost obsure sound with alienated female vocals and ethnic samples.. as all Zoharum re-issues before, this comes with previously unreleased bonus-material, new artwork, and lim. to 500 copies
|
2018 |
€15.00 |
|
| ICHIYANAGI, TOSHI |
Electronic Field |
CD |
Live performance from 1997 in the EDITION OMEGA POINT / ICHIYANAGI archive series from Japan - "part of a concert series 'Japanese Experimental Music 1960s' carried out at Art Tower Mito in Ibaraki. Toshi Ichiyanagi played improvisation on prepared piano and the sound was modulated by live electronics." - one track 45+ minutes, lim. ed. 700 copies, excellent artwork
|
2008 |
€21.50 |
|
| 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 |
|
| ILLUSION OF SAFETY |
More Violence and Geography |
CD |
re-release of first IOS LP from 1988 - a milestone of the North-American (post) Industrial, eerie and massive!! - "The 11 tracks display a much rawer and more 'industrial' feel with the use of harsh found sounds and voices, compared to recent works. Featuring new artwork by Dan Burke perfectly matching the albums title the CD also includes an unreleased live track (approx. 11 min. long) from the early 90's that didn't appear on the original album" - BACK IN STOCK, full colour cardboard cover
|
2002 |
€13.00 |
|
| |
Sweet Dreams |
10inch |
3-track EP by the legendary experimental project from Illinois / Chicago-area around DAN BURKE, one of the inventors of what once was called "Ambient Industrial", undergoing through many musical changes through their almost 30 years of existence; SWEET DREAMS is an almost psychedelic record, using many incredible acousmatic sounds coming from field recordings & instrumental sources; lim. 500 3-colour vinyl with stunning artwork by TILMANN BENNINGHAUS, Berlin, and mastering by THOMAS DIMUZIO !!
OUT NOW !! |
2012 |
€12.00 |
|
| INANNA |
Day ov Torment |
CD |
re-release of this classic death industrial album from 1993 (Staalplaat) by the solo-project of MIKAEL STAVÖSTRAND (who was also part of ARCHON SATANI at that time). New artwork design by NIKO SKORPIO (SOME PLACE ELSE, etc) ; SPECIAL OFFER now
|
2007 |
€8.00 |
|
| IRISARRI, RAFAEL ANTON |
The Shameless Years |
LP |
re-issue of the strong 2017 album by the ambient composer from New York, w. new artwork and on crystal clear vinyl, feat SIAVASH AMINI on two tracks... "Inspired by a troubled socio-political climate, buried melodies punch their way through a bleak cover of noisy drones, periodically veering into some of Irisarri’s most eerily pertinent music... "
|
2021 |
€21.00 |
|
| IRM |
Virgin Mind |
do-CD |
IRMs so far only double-CD appeared in 2005 on Cold Meat Industry, the project features MARTIN BLADH and ERIK JARL (aka JARL) and is known for their cathartic performances and exceptional scary, insistent sound and lyrics; "The album marked a radical change in the band’s direction, leaving the power electronics opera of ‘Oedipus Dethroned’ for an even more ritualistic, experimental and epic sound." - ed. of 300 copies of this re-issue with new artwork by MARTIN BLADH
|
2019 |
€16.00 |
|
| IRR.APP. (ext.) |
Are all Things Equivalent? |
10inch |
two new tracks by the master of surrealistic, mysterious sound (and visual) worlds, whose collages and titles often reveal a cryptic and thought-provoking nature => micro- and macroscopic dimensions intermingle and oscillate, multi-layered drone expansions and deep humming drones evoke a strange organic feeling, complex noises and drones that seem to be in a circling state of endless metamorphosis.. lim. 300, clear wax, artwork by MATT WALDRON himself
|
2019 |
€15.00 |
|
| IYV (SKELDOS & RUKANA) |
Upes |
LP |
re-issue of the rare cassette from 2017, the so far only release by the project of SKELDOS and RUKANA, a beautiful exploration into Lithuanian "post folkloristic" drone-ambient melancholy (UPES means "River") - "an album about travelling. About the hearing of birds, close to the rock chains, which twists on the surface of mountains, through marks of our memory just like the rivers.." - lim. 150 copies with two cover variants, screen printed artwork
|
2022 |
€22.50 |
|
| JARL |
Misophonia Colours |
CD |
start of the new CD series from Drone Records, old and new heroes from the past and future of experimental transcension atmo noises and drones... Swedish JARL created an ultra hypnotic 60min one-tracker that slowly plays a game with your head... - ed. of 250 copies, 6 panel digipak, mastering: PETER ANDERSSON, 3D effect artwork: TILMANN BENNINGHAUS
|
2021 |
€13.00 |
|
| JOB KARMA |
Ecce Homo |
DVD-R |
lim/numb. 150 copies / film by AREK BAGINSKI / artwork by AUBE |
2005 |
€15.00 |
|
| KA-SPEL, EDWARD |
The Moon cracked over Albion |
CD |
limited edition CD on the 'new' LPD Terminal Kaleidoscope label, recorded secretly by EK through one full year, with full colour insert w. artwork by the artist + dl-code for extra-track! "Conceived and recorded in a nation (a World?) so tragically divided, it could fall apart, it's hoped that just a few seeds of hope and optimism can be sown over the course of the time you'll spend in this peculiar world."
|
2019 |
€18.50 |
|
|
Permission to Leave the Temple |
10inch |
5-track EP, planned for many years, now finally out => "...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... 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." - lim. 500, artwork by puppy38 aka HIROSHIMABEND
|
2023 |
€16.00 |
|
| |
The Man who never was |
7inch |
we could get some very last copies of this early E.K.single with two exclusive pieces recorded already in 1992 with "LADY LOOP" (Elke Skelter) who also did the artwork; it the very first release on the legendary Seattle based ANOMALOUS Records run by ERIC LANZILLOTTA... covers got some signs of aging, but records are MINT; incl. insert
|
1996 |
€8.00 |
|
| KALLABRIS |
Music for very simple Objects |
10inch |
one of the most mysterious & thought-provoking German experimental projects with a bizarre formation of sequential sounds derived from field recordings; "substantia innominata et principium innominatum" (Kallabris). Edition of 500 copies, great full colour artwork by Mal Hoeschen (Multer, Genesungswerk), transparent flour green vinyl !
|
2009 |
€10.00 |
|
| KAMMERFLIMMER KOLLEKTIEF / STRINGS OF CONSCIOUSNESS |
split |
10inch |
Exclusive tracks on a strictly limited aficionados edition of 500. Both bands recently released a full-length album. Gatefold sleeve, elaborate artwork
|
2007 |
€12.00 |
|
| 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 |
|
| KRENG |
Works for Abattoir Ferme 2007-2011 |
4 x LP BOX |
the long awaited re-issue of KRENGS masterpiece, a perfect mixture of dark drones & sombre neo classic tunes! => "slow, skin-crawling cinematic ambience made for the Belgian theater group Abattoir Ferme. you are transported through the most terrifying, shadow-filled, downright bizarre moments of the subconscious.." - each LP with extra artwork, lim. 300 copies in box with silver tone print
|
2022 |
€65.00 |
|
| LAABAN, ILMAR |
Ankarkättingens slut är sängens början |
CD |
obscure Swedish sound poetry by this pioneer (*1921), where the meaning of words meets with the noise of words; luxurious artwork & book included |
1998 |
€12.50 |
|
| 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 |
|
| LE GALL, PASCAL |
Landscapes |
10inch |
this sound-artist from Tours, France, creates quiet acoustic landscapes by playing records on 6 rpm, using BACH and SCHUBERT compositions but also unknown sources, evoking a very special, unreal atmosphere between somber harmonic phrases and droning winds... a very nice 10" EP with wonderful cover artwork & mastering by MATHIAS DELPLANQUE, a true "secret tip" and very much recommended!
|
2017 |
€17.00 |
|
| LEGENDARY PINK DOTS (LPD) |
Island of Jewels |
CD |
Polish re-issue of the album from 1986 with new artwork
|
2002 |
€13.00 |
|
| LILES, ANDREW |
As if Punk Rock never happened / Pretty vague cunt |
pic-7" |
THE CENSORED DISC ! Released for the "International Record Store Day 2011" and as a 'commemorative" item for the Royal wedding on April 29; one side of this picture disc showed originally distorted pictures of CHARLES & DIANA and has been censored by the manufacturer! You can see the uncensored (& great) artwork at the Dirter-webpage.
|
2011 |
€11.50 |
|
| |
Life is an empty Place |
LP |
an album that seems to be focused on personal childhood & adolescence memories filled with judgements, disciplination and control (school, work) as the cover-art shows; musically based on drum machine and machine gun sounds, lots of processed (vocoder) voice material and analogue / digital synths, this is like a dismal journey into LILES implicit autobiographical memory... lim. 400 on golden vinyl, gatefold cover with front artwork by BABS SANTINI (aka STEVEN STAPLETON); BACK IN STOCK, better pricing!
|
2015 |
€20.00 |
|
| 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 |
Dynamo |
CD |
soundtrack for a huge, interactive (walkable) 16-speaker installation sculpture artwork by DANIEL CANOGAR, developed for the atrium of the Spanish Pavilion at EXPO DUBAI 2020; - *This moment captures the intense roar of so many machines of the past echoing through our modern history –technologies that we behold with a mixture of fear and fascination.* - 200 copies pressed |
2023 |
€13.00 |
|
| LOPEZ, SUSANA (AKA SUSAN DRONE) |
The Edge of the Circle |
CD |
2nd album by SUSANA LOPEZ for Elevator Bath, with her vision of deep existentialist sound creations.. - "dense clouds of hypnotic, foreboding sound....a vividly expressive sound cycle redolent of mythic archetypes and rich symbolism....exploring the cycle of human birth, growth, and death...A sonic meditation about the substance that is co-existent in the universe with time and space instead of existing within them." - lim. 200 copies, phantastic artwork inspired by a diagram of IBN ARABAI (1165-1240)
|
2022 |
€13.00 |
|
| LUNAR ABYSS DEUS ORGANUM |
Tryakusta |
CD |
this Russian sound-magician has mixed recordings from 3 live shows together - not one after the other, but all three combined = an incredible hallucinogenic sound that breaths & whispers, a dark mire of atmospheres.. Great again!! Lim. 485 with the usual stunning artwork from SERGEY ILCHUK
|
2011 |
€13.00 |
|
| |
Atanimonni Aitnatsbus |
10inch |
the fantastic experimental drone/ethno/trance project from St. Petersburg, Russia, with two long tracks (total 23+ min.) of stunning multi-layered compositions, using lots of detail-sounds from animals, analogue synths, female eastern voices/singings, subtle (neo) classic harmonies, bells & gongs... hyper-dense & fluid; both tracks end up in endless grooves (of water & fire), to symbolize the connection to timeless energies; lim. 500 with artwork by ARTYOM OSTAPCHUK, comes on sky-blue & white mixed vinyl
|
2012 |
€12.00 |
|
| MAEROR TRI |
Meditamentum |
CD |
re-release of the 2nd. M.T. CD from 1994, collecting favoured cassette material recorded 1989-1992... "a seamless, darkly grand proclamation of the wordless beauty and sorrow that was Maeror Tri" - comes in brown cardboard-envelope with embroidered cloth-banderole & re-print of original artwork & liner-notes by Lutz Schridde, a German philosoph now living in China; last copies back in stock from the now in-active label MANIFOLD Records
|
2005 |
€10.00 |
|
|
Yearning for the Secret(s) of Nature |
CD |
second re-issue of the MC from 1993 (this time as "fabric-pressed" CD), remastered by ANDERS PETERSON (ex OBJEKT 4) with new great mandala-like 7" artwork from ALAN MC CLELLAND (silverprint on black cardboard), edition of 300
|
2009 |
€13.00 |
|
|
Emotional Engramm |
CD |
re-issue of MT's last (5th) CD with recordings made 1993-1996, released by IRIS LIGHT in 1997; showing their deeply droning spheric & harmonic side, mainly based on field recordings & guitar-sounds... unavailable for a long time, this lovely re-edition comes in a 6-panel digipack with excellent new artwork by MARCIN LOJEK...
"...well, for God's sake, stop ... and stand and stare ... put your ear to the world, and listen to the song of the nightingale" [MARYTN BATES] |
2012 |
€12.00 |
|
|
Mind-Reversal |
CD |
re-issue of this cassette-release from 1993 (Hithlahabuth Records), which was so far only re-issued as limited CDR and contains only BACKWARDS-sounds! Comes with bonus-track and in luxurious digibook-hardcover, and simply amazing new cover-artwork; lim. 270 copies
|
2011 |
€15.00 |
|
|
Mort Aux Vaches: Hypnos/Transe |
CD |
re-mastered re-issue of the fourth M.T. CD that came out 1997 in Staalpaats "Mort Aux Vaches"-series, with recordings made "live in the studio" in May 1995 at VPRO in Amsterdam with no overdubs; three movements of raw & contemplative power-ambience, symbolizing a 'different state of consciousness' = the expansion of the mind through sound; lim. 500 with new artwork by SALT (Ant-Zen)
|
2012 |
€13.00 |
|
| |
Sensuum Mendacia / Somnia |
CD |
re-issue of the third full length tape (C-45) from 1991, still regarded as one of their best releases by the group members; plus the five more lighter tracks from the split MC "Somnia et Expergisci" (1989!) with NOSTALGIE ETERNELLE (this material has never been re-issued before except one track); lim. 350 with new artwork, + careful re-mastering by LUKASZ MIERNIK
|
2016 |
€12.50 |
|
| MARGITT HOLZT & THORSTEN SOLTAU |
Atvasinajumu un diferencetu EP |
pic-12inch |
stunning split release by these two North-German projects, MARGITT HOLZT from Hamburg fills the most part with strange & surrealistic tape collages made of field & concrete recordings, but also encharming with very subtle moments of musique concrete using whispers & short, mainly unidentifiable & weird sounds. Six unusual, great pieces, recommended!! Artwork collages by MARGITT HOLZT. 45rpm long play maxi 12", lim. 100 w. download code
|
2011 |
€15.00 |
|
| 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 / MAMA BAER / HJULER |
Alaska Kid jagt Dr. No |
CD |
after various collaborations by JONATHAN MEESE ("Alle Macht der Kunst") with the HJULER couple in the PSYCH KG "Fluxus" LP series, this must be the first full length CD with material by the three dadaistic bruitists and features 11 tracks: you can listen to a collaged JOSEPH BEUYS, "Strammstehen" - samplemania by MEESE, further investigations into MAMA BAER's singing & feedback noise experiments, agitation speech earplay poetry madness, "Alcoholisme-Brut Nr.1", etc.. + digipak with new MEESE artworks
|
2019 |
€13.00 |
|
| MENCHE, DANIEL |
Radiant Blood (SOLD OUT) |
10inch |
first release in a new 10"-series focused about "the unknown". lim. 500 on special brown-black marmorized vinyl. Stunning artwork by ROBERT SCHALINSKI (COLUMN ONE) !! 45 rpm |
2005 |
€12.00 |
|
| |
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 |
Storage |
2 x pic-LP & CD |
first ever vinyl re-issue of the ZSF Produkt LP from 1998, with third bonus track released so far only in the MERZBOX CD box... "Masami Akita creates in Storage a very experimental and atmospheric album with a masterful use of scraping sounds and metal percussions but also with a very effective use of silence. A strongly hypnotic and creepy sounding early analog Merzbow album." lim. 302 copies, new MASAMI AKITA artwork on the pic LPs, extra cover + CD version included!
|
2016 |
€38.00 |
|
| MERZBOW & THE HATERS |
same |
CD |
re-release of the MC from 1987 (BP-20), re-mastered by JOHN WIESE, comes with the original artwork from the cassette
|
2006 |
€12.00 |
|
| MILITIA |
Ambiorix |
CD |
the 'Eco-Anarchists' from Belgium are back with a concept album telling the story (based on CAESAR's writing "De Bello Gallico") of the Belgian king AMBIORIX who resisted against the Roman troops; the typical MILITIA sound (martial-percussive industrial) is set against texts sung in different languages, including Latin and Gaul... comes in special eco-leather bags with 4 different logos printed on the cover (12 versions of the artwork exist) + 3 folded insert; 500 copies made
|
2018 |
€16.00 |
|
| MNEM |
For Delta Relics |
CD |
debut full length of the Finnish true analogue droners (known from DR-54), on their voyage again to abysmal archaic drone textures.. "Finest sonic massives emitting complex syntheses of post industrial, electro-acoustics and harsh ambience; intensive layers of drones and abrasive loops laying foundation to diverse analog sound sculptures.." - lim. 500, artwork STEPHEN O'MALLEY, BACK IN STOCK LAST COPIES!
|
2003 |
€10.00 |
|
| MOLJEBKA PVLSE |
In Love and Death You are Alone |
10inch |
after a long break our series dealing with "the Unknown" continues with this great 10" by Stockholm based MOLJEBKA PVLSE, presenting two dense & emotional drone-tracks ("In Love and Death" , "You are Alone") that form an existential unity; lim. 300 only, comes on crystal clear vinyl with 'frozen bronze' metallic cover print, artwork design by THOMAS DOHMEN.
####
OUT NOW !! |
2015 |
€15.00 |
|
| MONOCUBE & TROUM // TROUM & MONOCUBE |
Contemplator Caeli |
LP |
the first vinyl release on Transgredient is a 4 track collaboration between Ukraine's experimental guitar drone project and TROUM, working with each other's basic material on the topic of the ancient 'Nightsky-Immersion'; second pressing on black vinyl, numbered ed. of 100 copies with inlay + phantastic artwork by sukkeret.og.pepper studio - "This has got to be one of the more densely atmospheric works to come along in years"[Toneshift] LAST COPIES !!
|
2020 |
€20.00 |
|
| MONOPIUM |
The Goat & the Dead Horses Circus |
CD |
they call it "post-industrial dada cabaret", a highly experimental mixture of various styles & noises, cut-ups, found sounds, voice-material, deranged folk & jazz, a surrealistic HYBRID to discover; comes with stunning artwork by ROBERT SCHALINSKI (COLUMN ONE)
|
2012 |
€12.00 |
|
| MUNDAL, ARE |
Kreis |
12inch |
impressive long play (45 RPM) 12" by Norwegians "doom collage" droner, soon to be featured on Drone Records!! => this is the place where surrealistic / hallucinogenic visions, dark cosmic connotations, strange cinematic samples and dense dark post industrial tunes melt into a ritualistic atmosphere... the perfect music for our times of hazy illusions, alternate realities and self deceptions... - lim. 100 copies w. phantastic artwork and 3 artprint inlays, hand-numbered to 100 copies! Get your poison now !
|
2023 |
€20.00 |
|
| |
Compilation Vol. 1 |
do-CD |
this compilation collects all existing vinyl material: two LPs, one 7" and the recent 'Kreis' 12", + a bonus track from the Norwegian dark industrial surrealist...=> this is the place where hallucinogenic visions, dark cosmic connotations, strange cinematic samples and dense dark post industrial tunes melt into a ritualistic atmosphere... the perfect music for our times of hazy illusions, alternate realities and self deceptions...- excellent artwork, too, double digipak, numbered ed. 200 copies
|
2023 |
€16.00 |
|
| MURMER |
We share a Shadow |
CD |
two masterpieces of processed field recordings, almost poetic 'concrete' drones, shimmering & emotional...
lim. ed. of 300 with hand water-coloured artwork & letter-press
|
2008 |
€14.00 |
|
| 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 |
Shekel Of Israeli Occupation |
do-LP |
a withdrawn/unreleased album from 1993 which was replaced through the "Betrayal" album; some remixes of these basic versions appeared later on various releases - this is the very first vinyl version after a very lim. CD version in 2019, new artwork and design by DMYTRO FEDORENKO (KOTRA) and KATERYNA ZAVOLOKA, ed. of 600 copies
|
2022 |
€34.00 |
|
| MY CAT IS AN ALIEN / PESTREPELER |
Solar Anarchy / As Wolf |
pic-LP |
MCIAA side recorded live in Cologne 14.12.2006; PESTREPELLER is a project from UK with SAVAGE PENCIL (who also did the artwork for their side of the pic LP)
|
2009 |
€15.00 |
|
| MØHR & MAEROR TRI |
Hafenstadt |
CD |
from the secret corners of MOHRs archives - more than 20 years after the original recordings (1992) this tape collaboration project is finally released - one long piece of harsh ambient noise by MOHR (28+ min.) was re-worked into three "wall of drone" pieces by MAEROR TRI, using solely MOHRs sounds....this is the raw droning power of the early 90's cassette scene! lim. 500 with artwork by TILMANN BENNINGHAUS
|
2015 |
€13.00 |
|
| N & BU.D.D.A. |
untitled |
LP |
FULL ethereal DRONE improvisation by this undergrond "supergroup", BUND DES DRITTEN AUGES are EMERGE and B*TONG, together with N they recorded a completely hazy and thick as fog session, where multi-layered low fi drones, strange sounds and pulses float together very well.. (with post-production arrangements added later); lim. 300, great cover artwork
|
2023 |
€19.50 |
|
| NADJA |
Ruins of Morning (SOLD OUT) |
10inch |
experience the avantgardish drone-metal duo at their most dark & beautiful; 500 copies on GOLDen vinyl, fantastic artwork by Marcin Lojek (ibsendesign.pl). One very long track spread on two sides / parts, playtime 40+ minutes !! This is also the very first 10" vinyl from NADJA, be quick if interested, we expect this to sell out very fast !! |
2010 |
€15.00 |
|
| NADJA & TROUM |
Dominium Visurgis |
CD |
three long collaboration tracks recorded as a result of a spontaneous improvisation April 2008 "live in the studio"; powerful drone melancholy in micro-& macrocosmic ways... stunning 8-panel copper / black digipack artwork by MARCIN LOJEK (who also did the artwork for the recent already much praised NADJA 10" on Substantia Innominata)
|
2010 |
€12.00 |
|
| NADJA & VAMPILLIA |
Imperfection |
LP |
LP version of the rare japan tour only CD from 2014 with new artwork; 400 copies black vinyl -"Imperfection was recorded as if both bands were one, with Nadja playing their world-acknowledged thick unearthly droning wall of bass and guitars, while Vampillia arranged the doomy acoustic drumming, beautifully harsh classical strings and piano. This instrumental voyage will take you to the highest peaks in a crystal-clear sunny day only to drag you to the blackest abyssal ocean's depths right afterwards."
|
2015 |
€15.00 |
|
| NEUROSIS & JARBOE |
same |
do-LP |
in 2003 this remarkable collaboration appeared by San Francisco's apocalyptic noise-rock band and JARBOE (ex SWANS), now for the first time on vinyl with new wonderful artwork by AARON TURNER (ISIS, etc.), on clear & gold splatter coloured vinyl - a powerful, hypnotic & expressive teamwork, crossing all kinds of genre-borders... "a deeply textured mosaic that is a culmination of merged aesthetics from two major influences on free-thinking sounds.."
|
2019 |
€26.00 |
|
| 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 |
|
| NOISE-MAKER'S FIFES |
Zona Incerta |
10inch |
third part in the SUBSTANTIA INNOMINATA series. ed. of 500 on two different colour-vinyls (half of the edition clear, the other half green-blue!), artwork by MARS WELLINK (VANCE ORCHESTRA) !! |
2006 |
€10.00 |
|
| 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. |
Akumu |
CD |
hard to find NULL release, excellent artwork by SALT
|
2008 |
€15.00 |
|
| NURSE WITH WOUND |
Sinister Whimsy to the Wretched |
do-CD |
re-mastered re-issues of "Sugar Fish Drink" (1992), a collection featuring such well known tracks as "Swamp Rat", "Nil by Mouth", and "Cooloorta Moon", and "Large Ladies With Cake in the Oven" (1993), another compilation with rare tracks; new artwork by BABS SANTINI, comes in gloss laminated double digipac
|
2018 |
€17.50 |
|
|
Changez Les Blockeurs And |
CD |
CD-version of the LP that sold out too fast, now with one LONG bonus track, named "AND"! For the 35 year celebration in 2017 of THE NEW BLOCKADERS "Changez Les Blockeurs" album (the story goes that S. STAPLETON was the first who listened to it) this is a glorious NWW re-work of it, with new artwork by Babs Santini; lim. 500 copies only!
|
2018 |
€14.50 |
|
|
Merzbild Schwet |
CD |
first CD re-issue after 25 years of the NWW classic (third album) from 1980 - released at the same time as 'To the Quiet Man from a Tiny Girl' - "the first fully realized NWW record.." - this new edition comes with new and original artwork plus an (unreleased?) untitled bonus track (12 + min.), no information is given on this..
|
2019 |
€18.00 |
|
|
To the Quiet Men from a Tinyl Girl |
CD |
first CD re-issue after 25 years of the NWW classic from 1980 (2nd album and the last one recorded as a trio), released at the same time as "Merzbild Schwet", feat. JAC BERROCAL and with dedicated material to Vienesse actionist RUDOLF SCHWARZKOGLER; this re-issue has original and new artwork and an (unreleased?) untitled bonus track (23 + min.), no information is given on this..
|
2019 |
€18.00 |
|
|
The Sylvie and Babs High-Thigh Companion |
pic-LP |
limited re-issue of this classic NWW album from 1985 (originally entitled "The S & B Hi-Fi Companion") feat. the "MURRAY FONTANA ORCHESTRA" with DAVID JACKMAN, E. KA-SPEL, JOHN BALANCE, ROBERT HAIGH, WILLIAM BENNETT....- comes with new artwork from Babs Santini! - "Sylvie and Babs is one of the most memorable, playful, and fascinating albums in the NWW oeuvre." [Antony D'Amico] -
|
2021 |
€33.00 |
|
|
Opium Cabaret |
CD |
expanded re-issue with 40 min. phantastic bonus material of last year's rare & immediately sold out new studio LP, a must for lovers of the spooky, ghostly 'gloom ambient' sound of NWW....- "This is a record that moves in slow motion. It unfolds into a floating nothingness to appease broken minds so drenched in opiates, time and place are but frivolous footnotes in a wider narrative of distorted reality.." - full colour 4 panel digipack with new artworks by BABS SANTINI
|
2021 |
€16.00 |
|
|
Gyllenskold, Geijerstam and I at Rydberg's |
CD + BOOK |
luxus re-issue of the album from 1983 / 1984 (L.A.Y.L.A.H.) with art book (silver metallic print, 24 pages of BABS SANTINI artworks), numbered ed..=> "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.."
|
2021 |
€27.50 |
|
|
Salt Marie Celeste - Salt |
do-CD |
re-issue of one of the most important and beautiful NWW albums ('a drone-ambient masterpiece : one hour one-tracker filled with oceanic despair & sadness...' [DroneRec]), first released in 2003, which comes now as an expanded version with the original SALT source material, recorded for the "The Horse Hospital" exhibition in London in 2002 (so far only release as lim. LP), along with new artwork (six panel digipack)
|
2022 |
€17.00 |
|
|
Spaced Muzak |
do-CD |
a newly mastered version of "Space Musik" (LP on Beta-lactam Ring Records), now with three additional, previously unreleased pieces on CD 2 (the original mix of the same piece, a sleep concert version feat. TIMO VAN LUIJK, and a different new mix), comes in splendid 6 panel "double digipack" with new artworks...
|
2022 |
€18.50 |
|
|
The Ladies Home Tickler (And Other Exotic Devices) |
do-LP |
expanded edition of "The Ladies Home Tickler", originally the bonus LP of the 'Psilotripitaka' box (1990), feat. historical recordings with WILLIAM BENNETT and JIM THIRLWELL (1980) - now enriched with diverse rare bonus tracks or different versions: "Classic tape cut-ups, radio sludge, surrealism, and abstract chaos." - Gatefold Cover, RED vinyl with black splatters, art insert, new artwork by BABS SANTINI - lim. 500
|
2022 |
€39.50 |
|
|
The Ladies Home Tickler and Other Exotic Devices |
CD |
expanded edition of \"The Ladies Home Tickler\", now re-masterded and with over 40 minutes of extra material - \"Classic tape cut-ups, radio sludge, surrealism, and abstract chaos.\" - nice CD version / digipack with folded 10 panel insert (\"concertinaed insert of Tickler Models by Miss Santini.\"), with 10 DIFFERENT full colour artworks not included with the do-LP version!! UK import
|
2022 |
€15.00 |
|
| |
Bar Maldoror |
do-LP |
luxus re-issue of the live album from 1991, collecting performance material from the 80's when NWW only performed eight times, feat. DAVID TIBET, DIANA ROGERSON, JOHN BALANCE, ANNIE ANXIETY, and others... Side D has two bonus tracks, comes w. silver metallic gatefold cover, with 4 panels of new artwork, lim.700, numbered and sealed, BLACK vinyl
|
2023 |
€40.00 |
|
| 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 |
|
| OGNI VIDENIY |
Sounding Emptiness |
CD-R |
experimental electronic ambience from the very north of Russia (Archangelsk), dedicated to the notion of emptiness in the Buddhist meaning, as an endless potential manifestation of all that exists.... pulsing drones made up from pulsing / creaking / smacking analogue electronics, and pure acoustic instruments (singing bowls, bells, pipes)... comparable to LUNAR ABYSS, not really dark but psychedelic in a special way.. lim. 77 copies, great colourful psychonautic artwork!
|
2014 |
€8.50 |
|
| OLHON |
Lucifugus |
10inch |
processed field recordings from an abandoned water tank; first vinyl release for the project of BAD SECTOR & WHERE !! lim. 500 on orange vinyl, artwork by TILMANN BENNINGHAUS known from the CISFINITUM - Devotio 10" (SUB-04) and IGNIS SACER LP (TROUM vs. NID)
|
2009 |
€12.00 |
|
| OLIVEROS, PAULINE |
Reverberations: Tape & Electronic Music 1961-1970 |
11 x CD BOX |
RE-PRESS of the big jubilee box to PAULINE OLIVEROS 80th birthday - a retrospective collection of her early + mainly unreleased electronic works, including her very first tape piece from 1959; this new version has 11 CDs instead of 12, but all material is included, the artwork is a bit different (Clamshell style box with single pocket disc sleeves), comes with 36 page booklet
|
2022 |
€80.00 |
|
| OPIUM |
Algorithms |
CD |
latest work by the promising italian "experimental ambient"-project of TEO ZINI. Featuring STEFANO MUSSO (ALIO DIE), great dense pulsing ether-drones.. ' "Track positions are given as 10, 20, 30, 40, 50, 60 instead of 1, 2, 3, 4, 5, 6, and track titles end on a semicolon or a dot so that it looks like an algorithm in BASIC." Artwork by AUBE
|
2007 |
€12.00 |
|
| 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 |
|
| ORGANUM |
Valentin |
7" |
after a long time, a typical "rare & mysterious" ORGANUM EP, a very strong piece coming in two versions using percussion & choir-elements (!) paired with field recordings & piano & noise; a very unusual sound!! 45rpm 7" lim. & numbered 233, exquisite artwork the label is known for, designed by JACKMAN / J. COLECLOUGH
|
2010 |
€12.50 |
|
| ORSI, FABIO / TEZ |
Otto |
CD |
first collab by FABIO ORSI with TEZ (Maurizio Martinucci), a long active soundartist wh worked with ADI NEWTON, TAYLOR DEUPREE and others => on 8 tracks they spread very electronic, harmonic and outcomposed tracks, at times sacral and suspended towards the sky, at times more mellow and cinematic...."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.." - excellent sleeve design, lim. 200 copies
|
2022 |
€13.00 |
|
| OÖPHOI (OOPHOI) |
Potala |
10inch |
first ever vinyl by the italian deep ambient master! Two long contemplative tracks into the center of holy places (may it be physically or mentally), opening endless spaces with low humming & reverberating meditation-drones! Edition of 500 copies pressed on luminous green vinyl, full-colour artwork by 1000SCHOEN aka ex-MAEROR TRI-member HELGE SIEHL !
|
2008 |
€12.00 |
|
| 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 |
|
| PHAENON |
Submerged |
CD |
artwork by K. ENDERLEIN (LOKI / INADE), digipack
|
2007 |
€13.00 |
|
| PHILLIPS, DAVE |
6 |
CD |
rare & super-intense DAVE PHILLIPS album with recordings from 2003-2005 (23 tracks, 74 min.!), released on a label from Belarus, with artwork paintings by RUDOLF EB.ER => sharp sound strokes and field recordings in eerie atmosphere, noise attacks contrasted with near silence, piercing instrumental and animal sounds, disturbing human utterings => all in all a hard to stand, but rewarding experience and tour de force, also a political attack on the achievements of human mankind !!
|
2006 |
€12.00 |
|
| PICK-UP |
Mouthless |
LP |
second (?) LP by the duo of FRANS DE WAARD & MARTIN LUITEN; part of the "Arts & Craft"-series w. handmade artwork, lim. 300
|
2009 |
€15.00 |
|
| RAPOON |
The Bush Prophet |
CD |
rare new Russian release dealing with "isolationism and the myth of democracy", a retreat to the free and open spaces of mind; lim. 500 with artwork by ROBIN STOREY
|
2010 |
€13.00 |
|
| 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 |
|
| RELAPXYCH.00 |
Hallucinogenitaliencryption |
12 |
amazingly entitled & sounding one-sided long play 12" (4 tracks) with laser-etched artwork on Side B, loopy hazy ambience in the way of RAPOON, but evoking a stranger atmosphere with more cut ups, etc ("Björk Homogenic era meets early Warp Records releases."); comes on purple marbled vinyl
|
2010 |
€10.00 |
|
| REUTOFF & SAL SOLARIS |
Eigengrau |
CD |
first split release by these two Moscow based projects, inspired by the psychoanalytic principles of 'reality' and 'desire' and the possibility of completely releasing the self from these forces... 74 minutes of melodic/rhythmic electro industrial meeting cold ambience.... comes with phantastic artwork in Jugendstil design with golden embossing and fold out mini-poster, lim. 500
|
2014 |
€13.00 |
|
| 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 |
|
| SATOH, SOMEI |
Mandala Trilogy + 1 |
do-LP |
re-issue of CD from 1998 (New Albion), plus one unpublished bonus piece on the full Side D... " The Mandala Trilogy blends Somei Satoh's own slowed down Buddhist chant vocalization and early electronics to create a radiant and meditative atmosphere conveying serenity and timelessness.." - the three pieces from the trilogy have already been recorded 1982-1990; comes w. beautiful artwork again, + inlay and new liner notes
|
2021 |
€30.00 |
|
| SCHAEFER, JANEK |
Unfolding Luxury beyond the City of Dreams |
LP |
seven new very atmospheric tracks by the British composer who originally studied Architecture, majestic drones & ambient vinyl loops slowly unfolding with ocassional field recordings or 'concrete' additions, often created with a concept for an installation or exhibition... very nice cover-artwork too; mastered by STEPHAN MATHIEU
|
2014 |
€14.00 |
|
| SHOEMAKER, MATT |
Isolated Agent Stranding Behaviour |
pic-LP |
another release in this lovely series (artwork painting & sound by the same artist); quite massive electronic drone pulses & patterns by this rising US-artist from Seattle, lim. 233 copies
|
2010 |
€17.50 |
|
| SKIN AREA / JARL |
La Petite Mort |
LP |
strong collaboration LP by Drone Rec. artist JARL (see MIND-01 LP) and the always impressing psycho-industrialists SKIN AREA both from Sweden => 4 tracks of eerie, minimal, pulsative industrial dronescapes with alienated/fragile voice, analysing the deepest drives, fears and guilt complexes of our unconsciousness.. really disturbing stuff! Lim. 220, comes with 13 thick/oversized colour artwork cards by MARTIN BLADH of IRM /SKIN AREA. Masterpiece!
|
2014 |
€20.00 |
|
| SLIM VIC |
Personliga Artiklar |
LP |
coming from the Swedish techno and DJ culture, SLIM VIC creates deep ambient drones combined with strange electronic tones and slow hypnotic pulses; like techno tunes stuck in a hundredfold slow motion dream.... the psychedelic / colourful artwork was created especially for this music by ROLFCARLWERNER, a prominent spraypainter in Sweden... an excellent long play 12" crossing the genre borders between electronica and dark ambient industrial
|
2017 |
€16.00 |
|
| SONOLOGYST |
Ancient Death Cults & Beliefs |
CD |
thematically centered around Death Cults from different ancient cultures, this ritualistic investigation uses samples from Egypt and Maya music along with electronics and various instrumental sources (percussion, saxophone, bass clarinet, guitars) to create a strangely contour-less floating space, as if the music is not constructed but just "happens"... definitely not the typical 'dark ambient' album! Comes with great cover artwork by ABBY HELASDOTTIR (GYDJA)
|
2020 |
€13.00 |
|
| SUZUKI, KAORI |
Music for Modified Melodica |
CD |
drone minimalism performed on a melodica with special technique (playing it with foot pumps, different tuning, sound effects, etc..) by this female Japanese / U.S.- performer = ultra minimal but designed to be played with very high volume! "Suzuki’s long time interests in 'inner-ear tone' psychedelia and psychoacoustic phenomena inform her live performances, recordings, and installation works." - lim. 200 copies, artwork painting by PETE GREENING known from the Drone-Mind series
|
2022 |
€12.00 |
|
| SVARTSINN |
Of Darkness and Re-Creation |
CD |
re-issue of the second SVARTSINN-album from 2003; new artwork, new mastering & bonus-track, mini-LP styled sleeve, lim. 500 copies; re-listing for better price now! ".. SVARTSINN kreieren hier mit Samplern + Synths ruhige, einsame und eisige Klanglandschaften ohne Grund und Boden, das infinite Äußere oder Innere vertonend, mind-space oder space-mind?" [Drone Rec. info]
|
2010 |
€13.00 |
|
| |
Traces of Nothingness |
CD |
re-press of SVARTSINNS third album from 2005 - with new artwork and four bonus remixes by LAMIA VOX, TRIARII, GYDJA and LETUM... " A slightly more melodic, sad and obscure side of Svartsinn that still keeps the cold and dark atmosphere that defines his sound." - ed. of 300 copies
|
2021 |
€13.00 |
|
| SWANS |
White Light from the Mouth of Infinity / Love of Life |
3 x CD |
re-issues of "White Light.." (1991) and "Love of Life" (1992), plus a bonus CD with 18 tracks of outtakes & rare live material; all re-mastered, with different cover artwork than the vinyl version
|
2015 |
€22.50 |
|
| TBC_CZEPOKS_SIGD |
Radio Gagarin Allsound Orchestra |
CD |
excellent four person collaboration recordings made a FSK Studios in Hamburg, by Swiss experimental veteran CHRIS SIGDELL aka B*TONG (once a member of NID, etc.) together with two members of TUMORCHESTER (aka CZEPOKS) and TBC (who worked with BRUME, TIETCHENS, etc. and had a 7" on Drone Rec. in 2002 => complex multi-layered ambient industrial, strange loops and dark drones, micro noises, waves, strong atmosphere... digipack with handmade artwork
|
2020 |
€10.00 |
|
| TEHOM |
Phobos |
CD |
this ritual was recorded live at the Phobos festival in Wuppertal, March 2019, and it sounds like the resurrection of a long-forgotten pagan demon, with dark chants and tones, susurration of invocations, powerful deep strokes and eerie drones... excellent recording quality (captured both from the mixing desk and from the whole church) and artwork, a must for fans of LUSTMORD, INADE, HALO MANOSH... 350 copies / 6 panel digipak
|
2021 |
€12.00 |
|
| TELEPHERIQUE |
v=s/t |
CD |
back in stock this early TELEPHERIQUE-album about the theme "Speed" and "Movement". Exquisite artwork
|
1998 |
€13.50 |
|
| THE RITA |
The Nylons of Laura Antonelli |
4 x CD-BOX |
first CD re-issue of the 8 x Cassette boxset from 2009 - "The Rita using various nylons as sole sound source, plus a bit of distortion of course, for a lengthy and intense exploration of texture and movement." [Norman Rec.] - comes in black wooden box, with laser engraving, 4 CD wallet and full colour artwork, insert, poster, and certificate numb. to 300 copies
|
2019 |
€38.00 |
|
| THEPERSONWHODIDTHIS |
Aquarium |
CD-R |
following the tradition of celebrating the birthdays of kids in Greece with a musical event, this documents the music created (for the 3rd birthday of Orion that happened near Xanthi) by small kids through a special software programme 'drawn' by their mouses on the PC screen => playful minimal synths miniatures with odd sound samples combined... truly dadaistic and childish; lim. 44 copies, excellent cover artwork
|
2019 |
€8.00 |
|
| THROBBING GRISTLE |
Mission of Dead Souls |
LP |
vinyl re-issue of this most legendary recording (for the first time on vinyl again since 1983!): TG's last ever live performance happened in San Francisco, on May 29, 1981, incl. versions of 'Persuasion' and 'Discipline', an incredible powerful and apocalyptic live-ritual... comes on white vinyl with enhanced cover-artwork and new printed inner sleeves with photographs & texts, plus digital copy of the album
|
2018 |
€26.00 |
|
| |
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 |
In die Nacht |
CD |
fourth part in the rerelease-series of all early vinyl albums by Asmus Tietchens on CD. This is the third of the SKY albums from 1982 incl. three bonus tracks of unreleased material not included on the original LP. Comes with a poster booklet feat. the original cover artwork.
|
2004 |
€15.00 |
|
| |
Marches Funebres |
CD |
re-issue of LP from 1989 (& 13th part of re-release series); comes with full colour poster booklet, reproduction of the original artwork & bonus-track "Grünschattiger Nachmittag" from 1979; lim. 600
|
2010 |
€15.00 |
|
| TROUM |
Ryna |
CD |
re-release of debut-album from 1998 ! digipack with artwork by Tilmann Benninghaus
|
2006 |
€12.00 |
|
|
AIWS |
CD |
first full-length album in many years, studio-material rec. 2002-2005, stunning artwork by ALAN MC. CLELLAND. 6-panel full-colour digipack.
|
2007 |
€12.00 |
|
|
Nargis |
7inch |
the dark & roaring side of TROUM; ed. of 500 / part one of the "Landscapes Single Series" / full-colour artwork & inlay designed by MARS WELLINK (adVANCED); last copies back in stock, now SOLD OUT at label!
|
2007 |
€6.00 |
|
|
SIGQAN |
CD |
re-issue of the long deleted album from 2003 (Desolation House), comes with new artwork feat. UV-high gloss spots, designed by Alan McClelland. |
2009 |
€13.00 |
|
|
Syzygie |
CD |
a collection of nine rare tracks from lost & deleted compilations, recorded 1999-2002, the follower to 'Symballein' (2010) => "unbearably beautiful drones, multi-layered transcendental noise, and highly atmospheric dream-muzak"; stunning cover-artwork by ABBY HELASDOTTIR (GYDJA), re-mastering by MARTIN BOWES (ATTRITION); edition of 1000 copies
|
2013 |
€13.00 |
|
|
Dreaming Muzak |
CD |
"The soundtrack to your Dreams" - re-mastered re-issue of TROUMs first full length release (came out as lim. MC on Cling Film Records, at the same time as the RYNA CD in Oct. 1998) with recordings from 1997, for the first time as regular CD => two long amorph droning soundtracks to be played during your dreams in endless mode... lim. 350 copies with new cover artwork
|
2014 |
€13.00 |
|
|
AIWS |
LP |
vinyl version of album from 2007; re-mastered by THOMAS DIMUZIO - the last Troum album that was recorded entirely analogue, on 8-track tape recorder; BLACK VINYL edition, 300 copies, stunning new artwork by PIERRE-YVES GIRARD "composed with guitar-drones and harmonic phrases that are processed in various ways creating an atmosphere of the sublime and emotional meditative states that transcend listener to immerse within themselves.."
|
2017 |
€18.00 |
|
|
DA-PU-RI-TO-JO (The Singles 2004-2016) |
CD |
re-issue of the BLACK MARA - box from 2017 - a compilation of TROUMs 7" vinyl releases (+ one digital only EP) through the years 2004 - 2016, all re-mastered and with stunning new artwork (6 panel digipak)... "12 dreamscapes that range from soothing, etheral and meditative through emotional and mysterious to dark, industrialesque and nightmarish."
|
2021 |
€13.00 |
|
| |
Symbiosis |
LP |
first ever vinyl re-issue of deleted mini-CD, with solo-tracks by both memnbers based on guitar-harmonies and structures.. - this LP contains a sixth new bonus-track based on older material; lim. 300 violet vinyl, artwork by SALT, using x-ray brain scans of both members ; comes with DL code |
2024 |
€22.00 |
|
| TROUM & MARTYN BATES |
To a Child, Dancing in the Wind |
CD |
6 panel full-colour digipack, total time 38:30 min, artwork by DANIEL CROKAERT. Poems by W.B.YEATS. !special priced now! |
2006 |
€8.00 |
|
| TZII |
SAnd HAert RAge |
12inch |
inspired by the artists childhood in the Sahara, this is the first solo 12" (with 4 tracks) by this French musician, film-maker and excessive live-performer, who is also active as SOLAR SKELETONS; "best Oriental Chill-Wave for both the dance-floor and your inner eye" ; lim./numb. 160, Arabian titles and lovely artwork with inlay card
|
2014 |
€13.00 |
|
| V.A. (VARIOUS ARTISTS) (COMPILATIONS) |
RECORDS ARE NOT FOR BAKING [RANFB] (Full Subscription) |
12 x 12inch |
subscription ed. lim. 200 / 6 x 12" plus 6 picture LPs only for subscribers!!! Contains also poster & original artwork. with: NURSE WITH WOUND, IRR.APP(EXT.), LA STPO, FRIDAY GROUP, BRUNNEN, CHRISTUS & THE COSMONAUGHTS.
LAST FULL COPY IN STOCK - SPECIAL OFFER NOW!
(the cover image shown here is from the IRR.APP(ext.) pic ed!!) |
2005 |
€300.00 |
|
|
DRONE-MIND // MIND-DRONE Vol. 1 : HALO MANASH, UBEBOET, JARL, B*TONG (SOLD OUT) |
LP |
the NEW LP-series from Drone Records, dedicated to the Drones of the World, and the Drones of our Minds. Each LP features four artists from the international drone-scene and is limited to 500 copies, pressed on four different vinyl-colours. Volume 1: UBEBOET (Spain), HALO MANASH (Finland), B°TONG (Suisse), JARL (Sweden). Stunning artwork paintings by British artist PETE GREENING, design by NINA KERNICKE (ALL SIDES). RELEASE-DATE: 5. DECEMBER 2011 !!
|
2011 |
€15.00 |
|
|
DRONE-MIND // MIND-DRONE Vol. 3 (SOLD OUT) |
LP |
Vol.3 features: JIM HAYNES (USA), MANINKARI (France), KSHATRIY (Russia), EXIT IN GREY (Rus). stunning artwork paintings by British artist PETE GREENING, great design by TILMANN BENNINGHAUS using bronce-colour & UV gloss! AVAILABLE NOW!!
|
2013 |
€15.00 |
|
|
Epicurean Escapism I |
CD & DVD |
great luxurious industrial compilation feat. the artists that took part in the first "Epicurean Festival" that happened in Berlin in 2012: JARL, IRM, KRANK (with JOHN MURPHY), HUMAN LARVAE & ANEMONE TUBE, all with very long tracks (the JARL track has over 25 min.!); + DVD with five intense video works by MARTIN BLADH (IRM), and a 24 page catalogue with essays & artworks by him; comes in 6 panel oversized folder, lim. 350 copies
|
2013 |
€20.00 |
|
|
DRONE-MIND // MIND-DRONE Vol. 5 |
LP |
echanting female drones by GYDJA (New Zealand), focused 'magic of the moment' drones by CLADE, (Scotland/USA), transcendental drones by MONOCUBE (Ukraine), cryptic drones by YRSEL (France): again filled with exiting experimental drone acts from the whole planet, we can finally present you Vol. 5 in our ongoing series; lim. 400 coloured vinyl, full colour artwork paintings by PETE GREENING. OUT NOW & SHIPPING !!
|
2016 |
€15.00 |
|
|
Epicurean Escapism III |
CD & DVD + book |
third and final part in this striking industrial art series: a CD, DVD and 24 page catalogue with essays and artworks by: SUTCLIFFE JUGEND, LAST DOMINION LOST, GERECHTIGKEITSLIGA, SKIN AREA, DAVE PHILLIPS (on the DVD), G.X. JUPITTER LARSEN... "exploring the viewpoint of escapism, sharing the vision of uncompromising utopian transgression, diving into this subjective counter-world"; lim. 350
|
2016 |
€22.00 |
|
|
Hour of the Wolf |
CD |
high-class deep psychological / cathartic compilation based on a special concept: all material was recorded in late night at the "Hour of the Wolf" and under extreme conditions (insomnia, isolation, fastening), the time of nightmares and hallucinations: for long intense tracks by: KRISTIAN OLSSON (SURVIVAL UNIT, etc.), MARTIN BLADH (IRM), KEVIN TOMKINS (SUTCLIFFE JUGEND), JOEL DANIELSSON; comes with 16 page A5 booklet with texts and artwork by all artists. A late discovery, don't miss it!!
|
2013 |
€13.00 |
|
|
Strain, Crack & Break : Music from the Nurse With Wound List Vol. 1 (France) |
do-LP |
a collection of artists/tracks from the legendary NURSE WITH WOUND list (1979), Vol. 1 with only French acts ("where the Seine meets the in-sane"), with pieces from nowadays more well known acts such as PIERRE HENRY, IGOR WAKHEVITCH, PHILIPPE BESOMBES, JACQUES TOLLOT, ETRON FOU LELOUBLAN, ZNR, but there are also more unknown & obscure ones: MAHJUN, JEAN COHEN-SOLAL, RED NOISE, HORRIFIC CHILD, JEAN GUERIN, DASHIELL HEDAYAT.. excellent artwork by S.STAPLETON ,gatefold cover, extensive liner notes.. a must !!
|
2019 |
€24.00 |
|
| |
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 |
collector's item / ambitious art project with writings and artworks from diverse artists, plus original compositions which are all 32 seconds long, based on the fact that digital online platforms usually only play the first 30 seconds of a track (which truly shortens our attention spans); - gatefold cover with full-colour booklet (32 pages), white vinyl, one-sided (the B-Side has a 32 sec. "Silence" track by R. SAKAMOTO)
|
2021 |
€55.00 |
|
| VAINIO, MIKA / PAN SONIC |
Last Live |
do-LP |
this release documents the last ever live performance of MIKA VAINIO (2.2.2017 at Cave12. Geneve, Switzerland), who died sadly only few days later... - with the help of C.M. VON HAUSSWOLFF (mixing, artwork), STEPHEN O'MALLEY (editing), DENIS BLACKHAM (mastering) and FRANZ GRAF (artwork) and others a most compelling memorandum has been created, almost exactly 60 min.long & spread on 4 vinyl sides.. comes with DL download card
|
2021 |
€26.00 |
|
| VAN HOEN, MARK |
The Revenant Diary |
CD |
fifth solo-album by this legendary figure of British "avantgardish" spacious Pop music (founding member of SEEFEEL, ex LOCUST, SCALA); very trancy, dreamy, surprising arrangements & sounds.... cover-artwork by STEPHEN O'MALLEY
|
2012 |
€14.00 |
|
| 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 |
|
| VELEZ, DAVID |
Sonido Descompuesto |
CD |
DAVID VELEZ captures the "psychogeography" of a certain countryside landscape in Columbia, with an interesting mix of hazy slow-drones & more concrete elemental sounds, melting daydreamlike acoustics from natural, human and animal sources... fabric-pressed CD, numbered ed. 200 copies, in the typical artwork-style (beautiful patterns from nature & natural objects) of Daniel Crokaert
|
2012 |
€14.00 |
|
| VIDNA OBMANA |
Soundtrack for the Aquarium |
CD |
"Soundtrack voor het Aquarium" appeared originally in 1993 (split CD with HYBRYDS) and was a commissioned studio work for the Zoo in Antwerp, Belgium, to be played as background ambience in their aquarium (!)... the water streaming and draining field recordings have been recorded before at the same place; lim. 400, re-mastered, and new digipak artwork
|
2019 |
€12.00 |
|
| |
River of Appearance |
CD |
the 25th Anniversary edition of this classic ambient album (originally released 1996 by PROJEKT, their first V.O. full length album) - ".. With every minute, the music seeps lazily, filling the entire environment with a rich palette of sounds from flutes, ocarina, harmonica and percussion, perfectly harmonizing with loops and electronic structures; pulsating delicately and setting the rhythm of our breathing while relaxing..." - ed. of 450 copies, new artwork
|
2021 |
€12.00 |
|
| VIDNA OBMANA & SERGE DEVADDER |
The Shape of Solitude |
CD |
subtitled "Suite for Electric Guitar, Atmospheres and Recycling", this appeared originally on Multimood in 1999 (one of their last releases), with SERGE DEVADDER delivering unusual guitar sounds... "a piece of dissonant outside music - followed by something warm and mysterious - into a harsh studio mutilation of yet another twisted guitar loop..." [Chuck van Zyl] - new artwork, 400 copies
|
2020 |
€12.00 |
|
| VIDNA OBMANA / DAVID LEE MYERS |
Tracers |
CD |
re-issue of this meditative highlight collaboration released in 2003 by Klanggalerie, on which we wrote: " Äußerst fruchtbare Zusammenarbeit des Belgiers mit dem wieder aktiven 'ARCANE DEVICE' David Lee Myers. In großartiger Weise verbinden sich hypnagoge Dronewellen OBMANAs mit sirrend-feedbackenden Mikrosounds von MYERS, eine sehr eigene, mysteriöse Klangwelt voller auraler Geheimnisse." - new ed. with new artwork of 400 copies
|
2020 |
€12.00 |
|
| 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 |
|
| VOICE OF EYE |
Substantia Innominata |
10inch |
the legendary US-duo from New Mexico back on Drone Records! Three new tracks of NEW material ("VIRYA", "DHYANA" and "PURUSA"), highly sublime & emotional "other-dimensional" ambience using lots of vocal material, flutes and self-build string-instruments, all handplayed; almost 39 minutes of material on clear vinyl with golden striae, superb artwork by THOMAS DOHMEN, lim. 500
|
2008 |
€12.00 |
|
| |
Anthology 2 (1992-1996) |
do-CD |
rare & unreleased tracks from the U.S. dark ethno/drone cult-project, all re-mastered by VOICE OF EYE themselves; you can find here: the famous "Sprocket" 7" for Drone Records (1994), the lost mCD for ND that was never released (1995), rare compilation tracks (some of them came never out), plus a complete, fantastic rehearsal for a live show (1996) and an extract from Tryst 8 (split MC with BIG CITY ORCHESTRA, 1995); comes in a nice 6-panel digipack & full colour artwork by Bonnie McNairn.
|
2011 |
€10.00 |
|
| VON HAUSSWOLFF, C.M. (CARL MICHAEL) |
Perhaps I Arrive - music for Atatürk Airport, Istanbul |
do-CD |
the un-released original version of the neglected sound-installation created 1997 for the Atatürk Airport in Istanbul; ed. of 500 with artwork by Akifumi Nakajima (AUBE); also contains the changed "accepted music" versions on the second CD
|
2008 |
€18.00 |
|
| |
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 |
|
| VRESNIT |
Seed Solar |
CD |
"primary being experience" - drone music, dedicated to the "Culture Solar beginnings", another very good psychedelic & cosmogonic album by the Russian project, with help by KSHATRIY, HLADNA and NEZNAMO. Very nice "neo-primitive" artwork incl postcard
|
2010 |
€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 |
|
| WEHOWSKY, RALF / JOHANNES FRISCH |
Tränende Würger |
CD |
oversized 6 x 15x15cm artwork-sheet-covers, designed by Meeuw. |
2005 |
€13.00 |
|
| WELLINK, MARS (VANCE ORCHESTRA / AD(VANCE)D |
TERATA - Treasures of fresh information |
ART-BOOK + 7inch |
collector's item, a must for any VANCE ORCHESTRA / (ad(VANCE(d) fan => MARS WELLINK is not only a gifted musician, he's also a professional silk screen printer, this art book (18 x 18 cm) collects beautiful multi-coloured, extremely multi-layered artworks on special art papers (Reviva, Kraftliner), in the typical VANCE ORCHESTRA-style, all handprinted and it also comes wtih a recycled, playable LOOPS 7"; 58 pages, only numbered 50 copies were made, stampled and with OBI banderole
|
2023 |
€50.00 |
|
| WHITEHOUSE |
Halogen |
LP |
studio album released 1994 produced by STEVE ALBINI (artwork TREVOR BROWN), incl. their smash hit "Lightning struck my dick";) ;) this is the first vinyl re-issue
|
2015 |
€23.00 |
|
|
Dedicated to Peter Kurten |
CD |
the extremely provocating industrial milestone from 1981, inspired by Germanys most well known serial killer from the Weimar Republic... - "its transgressive themes and wild electronic harshness became a critical defining influence on, indeed often template for, the noise and power electronics genres of the mid/late 80s and long beyond." - 40th anniversary edition with 12 page booklet packed with photos, information, plus the original LP inserts and artwork
|
2021 |
€15.00 |
|
| |
Buchenwald |
CD |
re-issue of LP from 1981 - comes with 12p. booklet incl. photos, info, orig. artwork.. - "incredibly bleak and chilling, an album demonstrating a raw, haunting electricity following the direct harshness of Dedicated To Peter Kurten.."
|
2021 |
€15.00 |
|
| WIEMAN |
Plays GOEM |
CD |
WIEMAN is the new project of ROEL MEELKOP and FRANS DE WAARD (both were before in GOEM, too), exploring minimal shifting rhythmic loops & repetitive structures,with deep bassy pulses and whirring electronic expanses, becoming more and more complex & groovy, before droney vibrations take over again, very nice!! ... a one-tracker of 42 min. in several parts; comes w. nicely golden printed / embossed cover artwork by ZAVOLOKA
|
2015 |
€12.00 |
|
| X-NAVI:ET |
Dead City Voice |
LP |
recommended second (vinyl) album by the solo project of RAFAL IWANSKI (HATI), a 6-track work about the psychic influences & transformations through the CITY, a dark filmic & emotional soundtrack to confront with the 'living dead' of one's town.... comes in nice gatefold-cover, lim. 250, with stunning artwork by EWA BINCYK
|
2013 |
€16.00 |
|
| YEN POX |
Universal Emptiness |
10inch |
OUT NOW May 2011 !! A new 10" vinyl on our sub-label series SUBSTANTIA INNOMINATA by the great dark / cosmic / black hole ambience project from the US!
Lim. 500, over 30 min. playtime, stunning artwork by EYELYFT feat. gloss-spots
|
2011 |
€12.00 |
|
| YEN POX & TROUM |
Mnemonic Induction |
CD |
completely re-mastered re-issue of this much requested dark dream-opus from 2002, now bringing out more sound details inside the endless amorph morass; 4 movements, 63+ min. long now; comes with NEW artwork by GYDJA incl. the 'dream essay' by R.B. HENSLEY; 8 panel digipack |
2015 |
€13.00 |
|
| ZBEEN [ENNIO MAZZON, GIANLUCA FAVARON] |
Tonal Whiplash |
CD |
both GIANLUCA FAVARON and ENNIO MAZZON belong to the most interesting Italian composers latey, with their ZBEEN project they surprise on every of the 7 tracks with very edgy and alienated electronic sound collages, quick changes and unrecognizable tiny sounds flood the listeners mind... comes w. special oversized cover feat. artwork collages by STEFANO GENTILE; lim. 280 copies
|
2017 |
€10.00 |
|
| ZNR |
Traite de Mechanique |
CD |
'If Captain Beefheart had been Erik Satie..." - re-issue of the second LP from 1978 (after their very experimental / avantgardish 'Barricade 3' ) by this French band (from Marseille) consisting of HECTOR ZAZOU, JOSEPH RACAILLE and PATRICK PORTELLA, who created a hard to pin down mixture of chamber-like mediterrean folk and jazz-avantgarde... many year unavailable, here's a new re-mastered edition with new artwork
|
2017 |
€13.00 |
|
| ZOVIET FRANCE & FOSSIL AEROSOL MINING PROJECT [ZFAMP] |
Flexible Pooling |
7inch flexi |
the additional release to "Patina Pooling" (from a heavy steel cover now to a hyper fragile paperbag artwork) - comes on a lovely WHITE flexi disc with two tracks, inlay and bonus download = together a 29 min. "mini-LP"; archaic shimmering low fi drones with mysterious voices & backward sounds that fit perfectly to this strange artefact
|
2015 |
€18.00 |
|
| 15 DEGREES BELOW ZERO |
Morphine Dawn |
maxi-CD |
"Four track EP from this highly talented dark ambient and cinematic isolationist three piece outfit. "Morphine Dawn" is just a piece of what the companion album (label to be determined still) "Under A Morphine Sky" has to offer. "Morphine Dawn" was mastered by Thomas Garrison of Misanthrope Studio and features artwork from Ben Didier. First 50 copies come with a bonus CDR featuring the track "Leisure Day Satellite"." [label notes]
www.crunchpod.com
|
2004 |
€7.00 |
|
| 23 SKIDOO |
The Culling is Coming |
CD |
"First released on vinyl only by Crepuscule's Operation Twilight arm in February 1983, The Culling is Coming flagged two radical new directions for Skidoo following their funky indie chart-topper Seven Songs the previous year. Drawn from two live performances, Culling combined a collaboration with the Balinese Gamelan Orchestra recorded at Dartington College of Music in October 1982, together with extracts from a more extreme, improvised set at the first Womad festival in July 1982, using scrap metal and tape loops. Both sides of the album were exactly 23 minutes long, and side one signed off (or rather didn't) with a stylus-hostile lock groove. Long deleted, this, challenging misunderstood album was light years ahead of its time. Now digitally remastered for release on The Boutique Label, it has been expanded by the inclusion of a complete (and equally extreme) 26 minute loop performance at Tielt, Belgium, on 8 October 1982. Recorded as part of Crepuscule's short Move Back/Bite Harder tour with Cabaret Voltaire, Tuxedomoon and Pale Fountains, this material has never before been released. The extended CD runs for 76 minutes. The booklet features the original artwork and contextual notes by Skidoo's Alex Turnbull. Full tracklist: G-2 Contemplation, S-Matrix, G-3 Insemination, Shrine, Mahakala, Banishing, Invocation, Flashing, Stifling, Healing (For the Strong), Move Back/Bite Harder." [label info]
www.ltmrecordings.com
www.ltmrecordings.com
|
2003 |
€15.00 |
|
| 2:13PM |
Matkormano |
LP |
Original soundtrack to the movie Matkormano produced by 529 Dragons and directed by Julien Louvet & Fabien Rennet.
credits
released March 10, 2017
Performed by Julien Louvet & Eric Duriez.
Artwork layout by Jennie Zakrzewski.
https://specific.bandcamp.com/album/matkormano
www.la-face-cachee.com
|
2017 |
€15.00 |
|
| 3/4HADBEENELIMINATED |
Speak to me |
LP |
"Black Truffle present Speak To Me, the sixth full-length release from 3/4HadBeenEliminated, the Italian trio of Stefano Pilia, Claudio Rocchetti and Valerio Tricoli. Based on source material recorded in Bologna and Berlin over the course of several years, the album is made up of two side-long pieces meticulously constructed in post-production by Tricoli in his singularly dense and unpredictable style. Although their live performances have always been entirely improvised, in their recorded work the group focuses on using improvised recordings as source material for compositions built up through layering, editing and analog manipulation, extending the practices of Teo Macero, Faust and This Heat. Melancholic instrumental ruminations sit alongside cracked electronics, concrete sounds and Tricoli's whispered vocals, drawn together into dense assemblages animated by gradual transformations and sudden jump cuts. Beginning from the abstractions of their self-titled debut release in 2004, the group embarked on a trajectory that saw them move toward near-song structures, Tricoli's voice becoming a dominant element amid an increasingly dense and layered production style. On Speak To Me, however, the listener feels confronted by the ghost of music, sonic memories echoing across a psychedelic expanse. Evacuated of any clear structure, the music becomes a reverb-saturated morass, from which crystalline details momentarily emerge: shimmering echoed guitar, bowed double bass, tactile hand percussion, skittering electronics. Suffused with a darkly pensive atmosphere, Speak To Me is an elegant summation of the distinctive blend of electroacoustic techniques, instrumental improvisation and contemporary psychedelia pioneered by 3/4HadBeenEliminated over the last decade. LP design by Stephen O'Malley with striking artwork by Stefano Pilia. Vinyl cut by Rashad Becker at Dubplates & Mastering, Berlin."
www.blacktrufflerecords.com
|
2016 |
€17.50 |
|
| 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 |
|
| 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 |
€16.00 |
|
| 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 |
|
| ABBILDUNG & PLATEAU OMEGA |
Anthropocosmos |
CD |
"
'embrace the joy beyond the rational thought...'
EM020, Anthropocosmos split-album inspired and dedicated to Mircea Eliade and his vast work on the human 'cosmos'. A shamanic journey full of ancient mysticism.
Total run: ~ 63 min. of dark ambient, ritualistic world music.
CD release date 01.10.2015.
ABBILDUNG uses caval and oriental percussion instruments, fieldrecordings, keys, programming, sampling. Plateau Omega electroacoustic tracks were written in cooperation with AI. from Wolfskin.
Artwork by C.&L. Photography." [label info]
www.essentiamundi.com
www.essentiamundi.com
|
2015 |
€13.00 |
|
| ABDUL-RAUF, LEILA |
Diminution |
CD |
Known for her work in Vastum, Ionophore, Cardinal Wyrm, Hammers Of Misfortune, Fyrhtu, and much more, Leila Abdul-Rauf presents her haunting third solo album, Diminution.
The follow-up to Leila Abdul-Rauf's 2015 highly acclaimed Insomnia album, Diminution sees the Bay Area-based, multi-instrumentalist take a more stripped-down approach to her uniquely haunting and shadowy soundscapes. While retaining a firm grasp on the feeling of urban loneliness and early morning solitude, Diminution's tracks are generally longer than previous works and feel more spacious and open, where sparse melodies and gentle textural flow meet ethereal choral vocals, distant trumpet, delicate guitar, and luminous, yet melancholy drones and warm tonal drift.
All songs on Diminution were composed, performed, and produced by Leila Abdul-Rauf, mastered by Myles Boisen at Headless Buddha Mastering Lab, and the album is completed with stunning artwork by Matthew Jaffe and layout by Kristoffer Oustad and James Livingston. Diminution is another spellbinding work from Leila for those seeking solace in quiet and introspective music residing just on edge of consciousness.
https://malignantrecs.bandcamp.com/album/diminution
|
2018 |
€13.00 |
|
| ADMIN DADA |
The Hypnagogic Traveller |
LP |
"First of all, you should know that the hypnagogic state characterizes a phase between wakefulness and sleep: that of falling asleep. So, as an insomniac who has trouble falling asleep, I was curious to see how Admin Dada would put all this to music. On a purely sonic level, we sail aboard rather spatial electronic drones, sometimes disturbed by more abrasive sound frequencies. It is true that when listening to this opus, one enters a form of psychedelic trip, as if the brain was following the modulations of the music, which becomes almost meditative and brings us closer to a shamanic trance state. It's a bit of a sound illustration of this particular moment when we leave the state of pure awakening to become more cottony, to feel the sensations of our body evolve, the noises gradually fade away, the breathing slow down.
Although generally calm, this work can become darker at times ("Vouivr") and approach a form of dark ambient rather psychedelic. I am well aware of Sheitan's creativity and his talent for handling atmospheres and melodies, even in quasi-atonal moments, but I find that he has surpassed himself here: this album settles in itself as a great pleasure that one immediately wishes to repeat. In addition to the digital version, the album is also available on vinyl, which will allow you to appreciate the very nice artwork.
With this album, Admin Dada has established itself among the references of modern ambient/experimental music, and one would have to be an idiot to miss it!"
[Le Scribe Du Rock]
https://hammersteinwaldteufel.bandcamp.com/album/the-
hypnagogic-traveller
review: https://www.webzinelescribedurock.com/2021/04/review-admin-dada-hypnagogic-traveller.html |
2021 |
€20.00 |
|
| AGLAIA |
Naked Movements |
CD |
"Each note of thy dusty song
Is a petal that has delicate breath
And is azure;
And is more beautiful than the drift of leaves"
(Dylan Thomas)
Tracks:
01 Lampis noctiluca
02 Eternal wheels
03 Waning moon
04 Nightly running clouds
05 Tailwind
06 Sensitive plants
07 Momentariness
08 The birds ride like leaves
09 Empty roads
10 Offward
11 On the bank of a river
12 Waterlily
Aglaia sounds: Gino Fioravanti, Gianluigi Toso
Recordered: October 2008-March 2009
Photos by Kati Astraeir http://katiastraeir.com
Artwork by Hic Sunt Leones" [credits]
www.aliodie.com
|
2009 |
€14.00 |
|
| |
Reverberant Skies |
CD |
"My tears are like the quiete drift
of petals from some magic rose;
and all my grief flows from the rift
of unremembered skies and snows"
Dylan Thomas
Tracks:
01 Magnitudine stellare
02 Atlas coeli
03 A boat hunted the edge of the sea
04 Mistic glow
05 Reverberant skies
06 Plenilune
07 Layasakta manas
08 The airy circle
09 Uranometria
10 High on a hill
11 From this darkness spin the golden soul
Aglaia sounds: Gino Fioravanti, Gianluigi Toso
Recordered: October 2008-May 2009
Photos by Kati Astraeir http://katiastraeir.com
Artwork by Hic Sunt Leones" [credits]
www.aliodie.com
|
2009 |
€14.00 |
|
| AGUILAR, LUIS DAVID |
Ayahuasca: Musica Para Cine de Luis David Aguilar 1978-1983 |
LP |
"Ayahuasca: Music for Film, by Luis David Aguilar (1978-1983)" compiles works by Luis David Aguilar, one of the most prolific composers of film scores in Peru. It shows the great versatility and avant-garde style that has distinguished his work.
Luis David Aguilar (Arequipa, 1950) occupies a fundamental place in the history of film music in Peru, not only because of the prolific nature of his work (which also includes music for television and advertising), but because of the singular, experimental style found in many of his scores. Aguilar's music blends modern academic composition with the use of native instruments, synthesizers, sound collages and a diversity of resources, which identify him as a key figure to understand a period of Peruvian music marked by the imprint of the avant-garde and the use of native sounds, which developed during the late 70's and the early 80's.
Aguilar belongs to the so called “Generation of the 70's”, along with Peruvian composers such as Walter Casas, Seiji Asato and Aurelio Tello, who were then immersed in the languages of contemporary classical music. But he also shares the spirit of renewal of a generation of musicians who came from the world of jazz and electronic experimentation such as Manongo Mujica and Arturo Ruiz del Pozo.
After his graduation from the National Music Conservatory, Luis David Aguilar studied at the Instituto Nacional de Teleducación, starting from 1976, which proved to be decisive. It allowed him to start a career as a composer of music for radio and television, and drove him away from the classical scene. With this experience in hand, he was then able to produce film music and to work in many recording studios in Lima. He also set up his own studio and, as a result, he is the owner of a large archive of recordings, which has been maintained without being published. “During those years I composed a lot of music: children's songs, jingles for various radio shows, as well as music for television series, etc.”, says Aguilar. “The great attraction for me was that all of the music I created was recorded immediately, and because of my academic training, I was able to write scores for symphonic orchestra. My purpose was to introduce the sounds of classical instruments in the auditory memory of a vast audience. I had never experienced this possibility before. As an academic composer, I created works that were rarely performed. Most of them gathered dust in different places or, because of my lack of order and frequent relocations, they simply got lost. But during this period, all of the music I wrote came to life. I was also able to work with different recording studios and use their fantastic technical resources. In addition, this situation allowed me to create job opportunities for classically trained musicians (who at that time were very poorly paid). Over any other consideration, this had a clear social function, and the experience was totally worthy for me. In large measure, this is why I stopped working in academic settings.”
Ayahuasca is an album that collects pieces from 1978 to 1983 and offers an overview of the different musical paths that Aguilar followed during his career as a soundtrack composer. The album opens with music from the film El viento del ayahuasca [The Wind of Ayahuasca] (1983), by director Nora de Izcue, performed by the National Symphony Orchestra and Choir of Cuba under the baton of Luis David Aguilar, with Chucho Valdés on piano. Recorded at the ICAIC studios (Cuba), it is an ambitious orchestral and vocal composition, in which you can hear the beginning of the famous melody popularized by the Amazonian cumbia group Juaneco y su Combo, which serves as an introduction to the sound world of the jungle, a dense and hypnotic atmosphere that, without a doubt, places this work as one of the most important compositions of the author's repertoire.
The next track is the music for the documentary Anónimo cotidiano [Anonymous Everyday] (1979), by director Jorge Rey, a unique experimental piece for synthesizers (played by Aguilar), drums and percussion (played by Manongo Mujica), with the addition of various Andean instruments (panpipes, charango, among others). It is a clear example of fusion of sound experimentation and timbres from the Andean world.
And finally Los constructores [The Builders] (1978), by director José Carlos Huayhuaca, a salsa which incorporates unusual sounds of tubular bells and prepared pianos.
About this diversity of genres, the composer says: “Creating film music gave me a wide perspective, because of the possibility of using all the composition techniques that I studied, both traditional and avant-garde, and even inventing some of my own, in addition to giving me the versatile craft that is needed”.
Ayahuasca: Music for Film by Luis David Aguilar (1978-1983) is the second album by Aguilar released by Buh Records, following the celebrated Hombres de Viento/Venas de la Tierra (1978-1982), appeared in 2015. The album is published in vinyl format, in a limited edition of 300 copies, as part of the Essentials Sounds collection. It includes a booklet with notes by Luis David Aguilar. The audio has been remastered from the original reel tapes by Aldo Montalvo. The artwork and design is by About Studio.
This project was awarded with the Economic Stimulus for Culture 2021 of the Ministry of Culture of Peru.
https://buhrecords.bandcamp.com/album/ayahuasca-m-sica-para-cine-de-luis-david-aguilar-1978-1983-essential-sounds-collection |
2022 |
€25.00 |
|
| AHTI, MARJA |
The Current Inside |
LP |
The Current Inside”, Marja Ahti's sophomore album for Hallow Ground, plays with the theme of currents - connecting and animating movements in the form of air, water and electricity. It approaches sound as a poetic medium, focusing both on the experience of sound as form and energy and on a loosely narrative arc, suggesting a riddle on the relations between the sounds. It implements alternative as well as intuitive tunings, analog and digital synthesis, recordings of sonorous spaces and vessels, electromagnetic fields transduced into audio, acoustic close-ups of elements in motion and other field recordings. Fluently connecting quite diverse sound sources, Ahti's music lingers in a zone between abstract sonorities and vaguely familiar acoustic environments.
The first half of the album consists of ”The Altitudes”, a piece commissioned by Ina GRM for Présences Électronique and Sonic Acts. It was inspired by descriptions of the layers of Earth's atmosphere. Imagining a movement through layers of air, the piece unfolds with a slow intensity, interweaving concrete sounds and closely tuned electronic sonorities. Traversing the altitudes, a landscape of entangled elements, masses and currents emerges. The air around us has weight and it presses against everything it touches. As gravity pulls it to Earth, it is sensed as pressure. The rotation of the planet, the angle of the sun at any new moment sets the elements in motion in a chain reaction.
The other side consists of four shorter pieces. ”The Currents” opens with a dance of trembling charged movements. ”Lost Lake” extracts resonant tones from a trail of close-up recordings of winter environments, while ”Fluctuating Streams” channels streaming air in different forms. The closing track, ”Sundial”, could be construed as the steady turning of the planetary angle towards the sun, unfolding through fragments of everyday activity against the backdrop of piercing, slowly twisting, suspended tone.
Marja Ahti (b. 1981) is a musician and composer based in Turku, Finland. Originally from Sweden, Ahti has been a part of the Finnish experimental music scene for more than ten years in different constellations. She is currently active in the duo Ahti & Ahti with her partner and as a member of the Himera artist/organizer collective. Her critically acclaimed 2019 solo debut, Vegetal Negatives, explored a new formal language and sonic palette inspired by a short text by René Daumal.
https://hallowground.bandcamp.com/album/marja-ahti-the-current-inside
Composition, production, mixing: Marja Ahti
Voice: Johanna Kalliokulju
Mastered by Giuseppe Ielasi
Cover artwork by Niko Karlsson and design by Juri Puhakka
The Altitudes was commissioned by Ina GRM as part of Re-Imagine Europe, co-funded by the Creative Europe Programme of the European Union. The work was supported in part by Arts Promotion Centre Finland. Synthesizers recorded at EMS, Stockholm and Ina GRM, Paris. Voice recorded at IAC, Malmö. Field recordings from various locations in Finland, Sweden and Croatia.
Thanks to Olli Aarni, Niko-Matti Ahti, François Bonnet, Jason Dungan, Jonna Karanka, Laura Naukkarinen and Remo Seeland.
https://hallowground.bandcamp.com/album/marja-ahti-the-current-inside
|
2020 |
€22.50 |
|
| 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 |
The Life of Insects |
LP |
Ale Hop is an artist, researcher, and experimental instrumentalist. She composes electronic and electroacoustic music, by blending strains of noise, pop, avant-garde, ambient and a complex repertoire of extended techniques for electric guitar and real-time sampling devices which she uses as her sound vocabulary to craft a performance of astonishing physical intensity, saturated of layers of distortion and stunning atmospheres.
Her body of work includes immersive multichannel installations, live performances, sound sculptures, video, 3D, composition and sound design for theater, dance and film, releases, academic publications, and workshops. The Life of Insects is her fourth studio album.
The composer began to craft the album The Life of Insects after spending one month living with different types of insects in her home studio, which she bought from a local insect dealer in Berlin and built little terrariums to record them for the sound design of a film she was working on.
Nonetheless, the album is not comprised of compositions based specifically on sound recordings of the insects, but it unfolds as an imagined world recomposed through speculated narrative and abstract elements that seek to portray their lives, assembling sounding stories that could be re-constructed in the mind of the active listener.
For this purpose, the artist came up with a musical language that could hold this fictional universe, comprised principally of several layers and textures of guitars that mimic environmental and atmospheric sounds.
The Life of Insects will be released October 23 on Buh Records
Watch the psychedelic video for the album opener 'La procesión' below.
Listen & Watch: Ale Hop - La procesión (Official Music Video)
www.youtube.com/watch?v=-v4Tqm8wk8E&feature=youtu.be
Side A
1 La procesión
2 The Life of Insects
3 Pollinators
Side B
4 The Way to the Ocean
5 Someday We'll Dance Again
6 The Pearl Diver
7 Jungle Depredation
Supported by Initiative Musik gGmbH with project funds from the Federal Government Commissioner for Culture and Media
All music composed, recorded and produced by Ale Hop
Mastered by Manmade Mastering, Berlin, Germany.
Mastering Engineer: Tim Xavier
Artwork by Ale Hop
https://buhrecords.bandcamp.com/album/the-life-of-insects
|
2020 |
€21.50 |
|
| ALGOL |
All these Worlds are yours |
CD |
A fifth full-length album by _Algol_ brings to you digital and analog sounds combined with some soothing guitar tunes. A conceptual and contemplating album for virtual cosmic journeys. Enjoy!
Instruments and mastering by Daniil Kazantsev.
Album Design SeasofBlack & Kati Astraeir (inner layout)
Released by Ksenza Records
www.infinitefog.ru
_Algol_ is a project name belonging to Siberian soundscaper (scientist, traveler, photographer...) Daniil Kazantsev, who is currently based in the UK. "All These Worlds Are Yours" album is out since the middle of June 2016 as a collaborative release between Russian labels Ksenza Records and Infinite Fog Productions. My attention was immediately caught by a catchy 4-panel digipak featuring splendid artwork by Italian artist Michele Carnielli working under his moniker of Seals Of Blackening (also a vocalist and guitarist with doom metal band Kröwnn) and by our kindred soul from the Sonoran Desert, Kati Astraeir, who is credited for additional inner layout. Nice work, guys!!!
4 and a half minutes long "Accelerated Descent" reveals the journey with slightly balladic, nearly medieval-like tides, where persistently spiraling patterns commingle with aeonianly emerging, droning and evanescing, intangibly rawer vistas. "Under The Starlit Sky", clocking to 7 minutes, glides gracefully towards nocturnally fascinating realms, masterfully bridging ethereally enrapturing dronescapes with quietly permeating transcendental glimpses. "Hidden Behind The Light" is invaded by monochromatically immense expanses, intricately guarded by clandestinely sneaking ambiguous siren calls. Breathtakingly infinite sceneries fully unfold here! "Frozen Plateux" safely remains on the path of utterly enveloping amorphousness, splendorously diving into the deepest ends of atmospheric tranquility, meticulously reinforced by occasional cyber-tech breaths. Exquisitely monumental magmas, jaw-droppingly flatlined, are insistently counterpointed by warmly undulating mirages, while intriguing desolate dissonances percolate here and there. A stunningly immersing 10-minute composition, one of the pinnacles!!! The next piece, "The Sands Of Tatooine", dives into enigmatically labyrinthine domains, merging calmly enveloping panoramic quietudes with sinuously twisted reverberating vestiges. A deep space voyaging at its most engrossing continues! "The Windswept Terrain", with 11:33 the longest piece, attracts wit its mysterious dronesculpting, where static surroundings commingle with intenser nuances, displaying evocatively enveloping passages, slightly disruptive hissing undercurrents and euphorically climaxing epic magnitudes. A very good one! 8-minute closer "The Dune Sea" delves deeply into unfathomable depths, superbly amalgamating majestically droning monochromatism with spellbindingly growling and buzzing traceries and thrillingly mind-bending meridians. Enter now the gates to abyssal nothingness!!! Obviously a grand finale!
"All These Worlds Are Yours" CD, which is limited to 333 copies, is certainly a very strong debut by _Algol_ on a glass mastered format, so don't hesitate to grab your own copy, I guarantee you won't be disappointed!!! And the digital version includes 7-minute bonus track "A Fading Planet". If I am right, discography of _Algol_ features another 5 digital albums, one of them "Heaven Debris" (2011) was released also on a CDr format via Snowy Tension Pole label from Poland, but I believe this one is sold out already. And one of the digital albums, "Goldilocks Zone" was released on earthMantra. Not to forget, Daniil Kazantsev is also the mastermind behind dark ambient project Stuzha with two acclaimed albums, "Siberian Sketches" and "Butugichag". The first one was released as a CDr by Snowy Tension Pole during 2011 and now, few days ago, reshaped and reissued on CD format in a 4-panel digipak on Ksenza Records. Limited collector's wooden box is available as well. On the same label is available also "Butugichag" CD album (2015), which elaborately deals with Kolyma Gulag labor camp theme. If you are a connoisseur of venturous dark ambient explorations, don't miss these two powerful works!!! And to make the story complete, Daniil has most recently released via earthMantra his newest digital album entitled "67P" under his newest moniker Black Wanderer. A batch of exciting releases awaits to be carefully examined!
Richard Gürtler (Nov 01, 2016, Bratislava, Slovakia)
|
2016 |
€12.00 |
|
| ALIO DIE |
Suspended Feathers |
CD |
„Die 96er CD des Italieniers Stefano Musso kann man wohl als das bisher ausgereifteste und schönste Werk bezeichnen... wundervoller, sensibler und sinnlicher Ambient, beruhigend und verzaubernd zugleich - hier unterer anderen mit Unterstützung von VIDNA OBMANA..“ [Drone Records info 1997]
“silentes presents another great reissue. suspended feathers is one of the best well know works by ALIO DIE. published originally in 1996 in a ltd.1000 copies in a special package by AQUA/AMPLEXUS and sold out for years... finally it's out again with a totally new artwork in jewel box... 5 tracks included one long track originally composed for "mytical" amplexus series, one track composed togheter with Gregorio Bardini and one track composed with VIDNA OBMANA. After 10 years this album sound again fresh and it's a real ambient masterpiece. A must.“ [label info]
|
2005 |
€13.00 |
|
|
The Flight of Real Image (full version) |
CD |
Re-Release der mcd von 1996 mit über 50 Minuten Bonus-Material!! Auf neuem russischen Label & in liebevoller Aufmachung.
“This is re-released of old MCD (22 minutes) which has been released in 1993 limited edition of 1000 copies and sold out several years ago. But many people continue to ask this CD. Some people tell that it is the best album of the maestro from all time! Now I happy to present full version of this great album, his length 79 minutes. Classical sound of the maestro is harmoniously combined with his new experiments with a zither, salterio, flutes, bells and many other. Old materials was remastering and now sound very well. Release have a 5 cards with installations of italian painter Sara Luciani. This artwork are an integral part of the concept of an album. Limited edition 1000 pieces.” [label info]
|
2006 |
€12.00 |
|
|
Aura Seminalis |
CD |
Auf AURA SEMINALIS verwendet ALIO DIE vokales und chorales Material, welches elektronisch verfremdet oder mit elektronischen Effekten angereichert wird. Dabei entstehen zwei lange Stücke von unglaublicher Emotionalität und Tiefe, frei fliessend & sanft wirbelnd um imaginäre Zentren....Die sakralen Choräle verschmelzen auf eine einmalige Art und Weise mit akustisch-elektronischen Sound,
vielleicht das beste ALIO DIE -Album bisher, auf jeden Fall aufregend anders als vorherige Arbeiten !
"The new work by Alio Die it is part of the Castle's sonorisation series, titled AURA SEMINALIS. The first track 'Sine Tempore part I-III' it's an epicentre of mystic music carachterized by a gold cathedral's atmosphere, while 'Aura Seminalis part I-II' displays an ascensional soundworld of arcane purity and rare beauty. One of the best works by Alio die so far. CD packaged in an elegant three sides digipack!! HSL 045" [label info]
"This latest release in a recent outpouring of creativity from Italy's master of organic drones is possibly the most unique in this artist's long career as a sound sculptor. While most of his recent releases on his own Hic Sunt Leones label have been collaborations, this is his first solo effort since the release of the 10 inch vinyl Aurea Hora. As the elaborate Renaissance style artwork on the cover suggests, this music points in the direction of a more "classical" sound insofar as the utilization of Gregorian style chants. These are successfully incorporated into Musso's customary drones comprised of field recordings, acoustic instruments, and electronic processing, giving this disc a particularly reverent ambience. Don't think Enigma or Delerium, because as one listens to this they may be inclined to bow their head and meditate or pray rather than nod or chill. I imagine that if today's sound recording abilities were available during those times evoked by the artwork or chants, they too would have then added the organic elements that Alio Die does, creating a balance of both the heavenly and the earthbound. Fans of his music may or may not find this approach a departure from what they are accustomed to, but it is certain that this artist is going beyond his previous huge body of work to encompass a broader sonic pallette." [Pauldient / Discogs.com]
www.aliodie.com
|
2008 |
€15.00 |
|
|
Tempus Rei |
CD |
Two new long pieces, based around a very beautiful subtle "classic instrumental" loop & field recordings of ocean, air & waves. The second piece is very similar but differently structured and uses also zither sounds. At the end everything seems to dissolve into shimmering lights of drone... So simple but so truly ambient-magic, ALIO DIE recently develops into very high levels of ZEN Ambience! Beautiful artwork, too!
"Celebrated by Stefano Musso in 2008 - 2008 at Temple Studio, Milan.
Alio Die: drones and loops, zither, field recordings. Cover photos by Edoardo Caputo. Artwork by Hic Sunt Leones. Tempus Rei is the second chapter of Castles Sonorisation's Series" [label info]
|
2008 |
€15.00 |
|
|
Hidden Spring |
CD |
"HIC SUNT LEONES presents Winter Solstice’s Spores. A reprint of two classic albums !
Two milestones of Alio Die's discography are available again after a long hiatus. This new edition offers two superb collectible digipaks printed in black on silver, in collaboration with the American graphic artist Joseph Uccello. This combination of music and artwork is an ideal celebration of this time of the year, as the Sol Niger approaches.
“In the course of life we encounter a kind of special state of consciousness – a moment at the threshold of a deep spiritual experience. At the border of the conscious mind (and perhaps with an initial feeling of disorientation), emerges a strong attraction toward a newly encountered state of being: a state that we feel is crucial in some way, and toward which we subconsciously strive, over the protests of normal rationality. On the other side of this threshold, beyond that apprehension, there is a sedimental layer of inner preparation which makes us ready for that moment. The energy evoked during artistic creation has always held similar qualities to this process; and listening again to these early works, it becomes clear to me just how vital to my music’s flow is this process of transformation and awakening. I feel that this same process informs the art of Joseph Uccello, which elegantly accompanies the music of these two re-releases.
Sit Tibi Terra Levis/ Introspective and The Hidden Spring satisfied completely this desire of immediate expression; truth calls for realization, and the feeling of 'spring water' contained in these albums has for me still something magic after such a long , long time.”
Alio Die, December 2008"
[label info]
www.aliodie.com
|
2009 |
€15.00 |
|
|
The Way of Fire (SOLD OUT) |
7inch |
Stefano Musso alias ALIO DIE lives in a small village in the mountains of Lunigiana, where he is inspired by pure nature –surroundings. There he is also running a CD-label for new ambient dream music named HIC SUNT LEONES. ALIO DIE gives the perfect soundtrack to a journey into the realms of untouched nature; listen to animal voices, flutes, long dark drones, drummings, metallic sounds, small feedbacks and thunderous explosions...
a kind of psychoactive illuminative music, the two long tracks here are in a darker vein as on recent ALIO DIE releases..
Ideal Sounds for your psychognostic daydreams!
MINT-GREEN VINYL, VERY HANDMADE COVER-ARTWORK WITH LOTS OF PAINT, STAMPS FROM DIFFERENT COUNTRIES, PIECES OF NEWSPAPERS, PIECES OF PLANTS & FEATHERS. EACH ONE DIFFERENT AND UNIQUE!
"Two spacious new E.P.s for entheogenic minds
- out on Drone in December 1998"
|
1998 |
€ |
|
|
Standing in a Place |
CD |
"released December 5, 2015
Composed and performed by Stefano Musso (bmi)
Recorded at Lunae Studio, Lunigiana between march 2013 & November 2015
Alio Die: Psaltery, zither, drones & loops, field recordings
Lorenzo Montanà: Additional electronics and effects
Photos by Linda Serra - Artwork by Hic Sunt Leones
A masterpiece of mystical wonder painted with the medium of music. I've seen him do this often in his music....but never better than this. Rsfx-amb/Bandcamp
there is only one Alio Die and the beautifully constructed listens he creates for us are such a special part of the experience of planet Earth. So expressive and emotive and spontaneously deep, we're blessed to have his music accompany our lives and reflections. thank you. Duff Egan/Bandcamp
Such exquisite complexity in this drone world by Stefano Musso (ALIO DIE). But, then again, they always are.
What an experience it would be to follow Stefano on one of his creations, and watch him meticulously stitch together such intricate works. Until that time, however, we'll have to appreciate this drone master from his finished work.
Beautifully done! Brian Bourassa/Bandcamp" [band website info]
|
2016 |
€15.00 |
|
|
Seamlessly Bliss |
CD |
"Composed and performed by Stefano Musso (bmi)
Recorded at Oulu, Finland & Lunae Studio, Italy
Between july 2011 and november 2015.
Alio Die: Zither, Drones and Loops, Field Recordings.
Lingua Fungi: Kantele, Organ, Treatments.
Aglaia: Electronics and effects.
Artwork by Hic Sunt Leones.
It is always a pleasure to experience new works by ALIO DIE, mindfully absorbing the multitude of minute phrases that make up, in the end, an intricate tapestry of textural wonder.
Seamlessly bliss is no exception to the rule and exemplifies this magical process that only one such as ALIO DIE can create.
Brian Bourassa/Bandcamp" [band website info]
www.aliodie.com
|
2016 |
€15.00 |
|
| |
They grow Layers of Life within |
CD |
Alio Die knows the sound and this album is an acoustic cathedral, but it could also be the sound of an ancient forest or what is more pure has survived or escaped the implacable vortices of space-time.
A pure, charming, superlative album, where Alio Die opens passages, planing, flying through. There is no uncertainty, no swelling, no cracking, the sounds emerge, appear and disappear within a solid soundtrack.
Thanks to such dilated sounds the listener sees in the distance. It looks like through a crystal sphere, the trained ear reads messages that Alio Die has received from other worlds thanks to an accustomed sensitivity now capturing in every sound event the sacred and essential.
released June 21, 2017
Alio Die: Zither, Drones and Loops,
Bells, Voice, Field Recordings
Composed and Performed by Stefano Musso (bmi)
Recorded at Lunae Studio,Italy
Between January and December 2016
Photo Processing by Arianna Tondo ~ Artwork by Hic Sunt Leones
aliodie.bandcamp.com/album/they-grow-layers-of-life-within |
2017 |
€15.00 |
|
| ALIO DIE & AGLAIA |
Opera Magnetica |
CD |
"Opera Magnetica nullifies space and time, the first song states it. Even the boundaries that by sensitivity differentiate Alio Die from Aglaia are less defined, they lose naturally.
One second before Dark is one of the most inspired songs born of their collaboration. Unmissable. Magnetic work is a synthesis of their best intuitions, chiseled songs from acoustic finishes, underground sounds that emerge only when they can conjure up visions. Nothing is more perfect than Wake of a Silver Water: the transformation that reveals everything without ever showing..
Music composed and played
by Gino Fioravanti and Stefano Musso(Bmi)
Recorded in Lissone and at Lunae Studio
between April 2015 and
December 2016
Photos by Stefano Musso
Artwork by Hic Sunt Leones
aliodie.bandcamp.com/album/opera-magnetica
|
2017 |
€15.00 |
|
| ALIO DIE & ANTONIO TESTA |
Rêverie |
CD |
"Rêverie is the third collaboration between Antonio Testa and Stefano Musso after ten years from their last cd together "Prayer for the Forest", with this new potion the duo explore different slow-motion atmospheres, playing a wide range of acoustic instruments, and distilling healing sounds, that naturally relate with music-therapy. An album for the soul and the love of being in its entirety. Airy and suspended, "Rêverie" is inductive music for light-hearted moods - over any siege of thought. The cd comes in a refined 6 panel digipack. Artwork by Hic Sunt Leones." [label info]
www.aliodie.com
|
2012 |
€15.00 |
|
| ALIO DIE & LINGUA FUNGI |
Otter Songs |
CD |
"Performed and recorded between 2008 and 2011 by Jaakko Padatsu and Stefano Musso in Oulu, Finland and Milano,Italy. Mixed and mastered by Jaakko Padatsu in 2011.
All acoustic instruments and field recordings
by Jaakko Padatsu and Stefano Musso.
Accordion on "Fount of Flowing Water" by Heta Kaisto.
Otter Songs - Alio Die & Lingua Fungi
Otter Songs is the culmination of the process that began in 2008 by Lingua Fungi and Alio Die.
The idea for the collaboration was born from the initial recordings by Jaakko Padatsu utilizing diverse self made instruments and natural objects including driftwood, snail shells and otter skull ocarinas. The archaic and arctic drones were later complemented with subtle recordings by Stefano Musso with zither, sitar and other acoustic instruments. The collaboration was sealed with final recordings in Italian spring 2011 by Jaakko Padatsu and Stefano Musso.
From Terra Ultima to Mediterranean, the album brings together the tones of nocturnal cicadae and spring break-up of ice in Bothnian Bay.
Sometimes driven with arctic atavism, sometimes with delicate warm melodies, Otter Songs aims to transcend physical distance by deconstructing and rebuilding the two worlds into boundless celebration of Terra Mater.
The cd comes in a refined 6 panel digipack printed with gold colour. Artwork by Hic Sunt Leones from original concept and photos by Lingua Fungi." [label info]
www.aliodie.com
|
2012 |
€15.00 |
|
| ALIO DIE & SAFFRON WOOD |
The Sleep of Seeds |
CD |
Sehr entspannte Drone-Improvisationen praktisch ohne elektronische Sounds.. eine weitere neue VÖ von ALIO DIE, hier in Zusammenarbeit mit SAFFRON WOOD.
“ The title is also the opening track of this macroscopic journey into a world which spontaneously engages us when we travel through it. A link between life and earth, a passageway between time and change. A melodius itinerary in which a time hourglass often makes no sense but only the sound of articulated and fragmentary notes...50 minutes between a seed and a grain of soil to wander into an infinite space while listening to a far away earth longing sound. Recorded in Savona Italy august 2002, with different flutes, tubes, accordion, various objects, rattles, shells, bells... Drones and loops, effects, editing and mastering on Pro-tools, at Temple studio Milano spring 2003. All the Cds comes in a special artwork compositions with tissues leaves, seeds...” [label description]
|
2003 |
€14.00 |
|
| ALIO DIE & ZEIT |
Sunja |
CD |
Die erste der gleich DREI neuen HSL / ALIO DIE – Veröffentlichungen Ende 2003 ist SUNJA, die wohl zum harmonischten und entspannendsten gehört, was STEFANO MUSSO bisher produziert hat. Positiv und warme Sphären werden hier imaginiert, die an eine friedliche, paradiesische Oase denken lassen. Esoteric Ambience in its truest sense !
”Magic has blown its precious spores in the air. A human rite, humble and quiet, has evoked a red hot globe that gently illuminates the path toward the borders of Sunja, the dream place where all vibrations start. Sometimes the light comes down from the sky, clear like a crystal. Sometimes it climbs slowly from the earth's depths, but it's always comforting. Crossing the thresholds of Sunja is like landing on an uncontaminated island, furrow its white sea-shores lapped by tepid foamy waters, been inebriated with wide floral smells and saltiness in secret places of the inland and in caves dug from time, gain the top of the plateau from which it is possible to see
beyond...Sunja is creative strength enclosed in two long tracks of incredible intensity, rich in levels of knowledge, pure enchantment and beauty. The deep sound has an extraordinary symbolic and evocative power and it has arrived to a supreme purification owing to millenial percolations across the rock. Music shines, beholds, resounds at the bottom of ourselves, lives and spreads out. We realize, in listening, that a light warmth closes in upon us, everything loses its own original sense, the gates open...the road is beaten!
Basic acoustic recordings were improvised during a warm night in late summer 2002 at Lunae studio,Tuscany. Edited and mixed in spring 2003 at Temple studio, Milano.
Stefano Musso: zither, samples and loops, buzzer , fields recordings. Tommaso Cimo': khen(mouth-organ), accordion,rattles, bird calls, bells. All the Cds comes in a special artwork numbered compositions with collages and handmade prints.” [label description]
|
2003 |
€14.00 |
|
| ALIO DIE / PARALLEL WORLDS |
Circo Divino |
LP |
"This is the first collaboration by ambient master Alio Die with soundscape creator Parallel Worlds. the unique sound achieved could be described as a hybrid sonic world, made out of bouncing electrons and air vibrations. the modular machines of Parallel Worlds are merged with the acoustic instrumentation and drones of Alio Die, joined by the ethereal voice of the Polish vocalist/composer India Czajkowska, resulting in a surreal, yet down to earth, listening experience. The compositions, being, at times, minimal and calm and, at other times, full of mystical darkness and microsound elements,
take the listener into a place were mental and physical boundaries have no need to exist.
The beautiful Digipack artwork is by the painter Romanie Sanchez.
Tracks:
1 Lost Fractales
2 Circo Divino
3 Nuvole di Palissandro
4 Sorinel
5 Electrostatic Forest
6 Slide of Grace
All tracks composed and produced by Bakis Sirros and Stefano Musso (BMI) between 2008 and 2009, in Milan, Italy and Athens, Greece.
Parallel Worlds : Doepfer A100, Serge, AS Integrator, Metalbox/CGS modulars, 4-Voice, VCS3, String machines, Tape Echoes, Tone & CV generators, wave shapers and modifiers.
Alio Die: Drones and Loops, Zither, Carillon, Effects and Treatments.
Voice and effects on tracks 1,3,4 by India Czajkowska recorded in Verezzi, Italy." [label info]
www.aliodie.com
|
2010 |
€16.50 |
|
| |
Circo Divino |
CD |
"This is the first collaboration by ambient master Alio Die with soundscape creator Parallel Worlds. The unique sound achieved could be described as a hybrid sonic world, made out of bouncing electrons and air vibrations. The modular machines of Parallel Worlds are merged with the acoustic instrumentation and drones of Alio Die, joined by the ethereal voice of the Polish vocalist/composer India Czajkowska, resulting in a surreal, yet down to earth, listening experience. The compositions, being, at times, minimal and calm and, at other times, full of mystical darkness and microsound elements, take the listener into a place were mental and physical boundaries have no need to exist.
The beautiful Digipack artwork is by the painter Romanie Sanchez.
Tracks:
1 Lost Fractales
2 Circo Divino
3 Nuvole di Palissandro
4 Sorinel
5 Electrostatic Forest
6 Slide of Grace
All tracks composed and produced by Bakis Sirros and Stefano Musso
(BMI) between 2008 and 2009, in Milan, Italy and Athens, Greece.
Parallel Worlds : Doepfer A100 modular, Serge Modular Music System, AS Integrator modular, Metalbox/CGS modular, modified Oberheim 4-Voice, modified EMS VCS3, String machines, Tape Echoes, Tone & CV generators, wave shapers and modifiers.
Alio Die: Drones and Loops, Zither, Carillon, Effects and Treatments.
Voice and effects on tracks 1,3,4 by India Czajkowska recorded in Verezzi, Italy.
Mastering by Stefano Musso at Temple Studio, Milan.
Cover pictures by Romanie Sanchez
www.romanie.net" [label info]
www.aliodie.com
|
2010 |
€15.00 |
|
| ALONE IN THE HOLLOW GARDEN & NAM-KHAR |
same |
CD |
"The first collaboration between Alone In The Hollow Garden & Nam-Khar manifested in a collection of 8 ritual / tribal pieces, offers to the listener a transcendent voyage through the roots of primordial sound and vibration.
Having its inspiration in Tibetan spirituality & ancient aesthetics, the album merges the individual energies of Alone In The Hollow Garden & Nam-Khar into a fresh new sonic expression filled with tribal rhythmic structures, ritual acoustic instruments & deep chanting, created effortlessly by following the sound's mystical guidance.
Alone In The Hollow Garden: throat singing, chanting, kangling,
flutes, gongs, bells, metal percussion, amplified strings, analogue synthesizers.
Nam-Khar: percussion, programming, singing bowls, effects, analogue synthesizers.
Channeled, recorded & mixed by Alone In The Hollow Garden & Nam-Khar between June MMXV & January MMXVI. Artwork and drawings by A.I.T.H.G.
Professionally pressed glassmaster CD coming in a beautiful digi-file offset printed glossy cardboard packaging. Limited edition of 100 copies released by Qualia Records." [label info]
https://aloneinthehollowgarden.bandcamp.com/album/alone-in-the-hollow-garden-nam-khar |
2016 |
€13.00 |
|
| ALUK TODOLO |
Archives Vol. 1 |
LP |
"Archives vol.1 is a collection of unreleased / rare material documenting the first decade of the band's existence : raw, unpolished rehearsal captures, bizarre recording experiments, early or alternate versions of existing pieces, these 8 tracks, selected from the band's private tapes, are compiled in an unchronological order, forming a whole and unveiling new apects of Aluk Todolo's musical quest."
www.templeoftorturous.com
"Laut ihrer Bandcamp-Seite residieren Aluk Todolo derzeit in Paris. Neben der vorliegenden Archiv-Zusammenstellung vom März 2017 haben sie zwischen 2006 und 2016 neun Alben veröffentlicht, darunter auch ein Konzertalbum.
Die finsteren und geheimnisvollen Stimmungen der instrumentalen Stücke und das Artwork der Alben führen dazu, dass man als um die stilistische Einordnung stets bemühter Review-Schreiber die Musik von Aluk Todolo als durch die okkulte Gedankenwelt des Black Metal beeinflussten Krautrock auslegen möchte. Als ein Hinweis in diese Richtung kann auch das „Occult Rock“ genanntes Werk aus dem Jahre 2012 dienen.
Dieser Eindruck wird durch „Archives Vol.1“ eindrucksvoll bestätigt. Das Album enthält bisher unveröffentlichtes Material aus den letzten 10 Jahren der Bandgeschichte. Darunter finden sich unbearbeitete Fragmente aus den Bandproben, „seltsame Aufnahme-Experimente“ (so der Infozettel) sowie frühe, oder alternative Versionen der bereits veröffentlichten Stücke.
Anlässlich der aktuellen Veröffentlichung von „Archives Vol.1“ habe ich mir tatsächlich fast alles von Aluk Todolo auf Bandcamp angehört, weil ich die Band zunehmend interessant fand. Je älter die Aufnahmen, umso finsterer, experimenteller und Black Metal-artiger werden die Jams des französischen Trios.
Die treibenden Rhythmen und der repetitiv-energetische Charakter von „IV XII MMX“ ziehen den offenen Hörer in seinen Bann. Das kurze „XXVI IX MMX“ klingt für mich nach gezielt übersteuert-noisigem, apokalyptischem Jam. Rau und rotzig geht es im Jam „XVIII I MMVI“ zu. Eine scheinbar ungewohnt gestimmte akustische Gitarre sowie schwer definierbare Klänge (irgendwo zwischen Synthesizer und Dudelsack angesiedelt) bestimmen „XV V MMVIII“, das als Soundtrack zu einem bizarren Ritual dienen könnte. Mit „XXVII XI MMIV“ nähert man sich unvermittelt der atmosphärischen Dark Ambient-Musik. Die Bezeichnung „Dark Space Jam“ kommt mir bei „XVII I MMVI“ in den Sinn. Das Avantgardistische an „X IX MMVIII“ gleicht mit den Industrial-Noise-Klängen fast schon einem Besuch in einer Stahlfabrik.
Okkulter Krautrock mit einer Prise Black Metal und Elektronik? Was auch immer Aluk Todolo da spielen, für mich klingt es interessant. Wer ungewöhnliche und experimentelle Musik mag, der sollte sich mal mit „Archives Vol.1“ beschäftigen." [Siggy Zielinski /Babyblaue Seiten)
www.babyblaue-seiten.de/album_16370.html
|
2017 |
€22.50 |
|
| ALVA NOTO |
Xerrox Vol. 4 |
do-LP |
"Alva Noto returns to his much awaited Xerrox project with Vol. 4, the fourth installment of the five-piece intended series based on the concept of digital replication of source material.
Using the process of copying as a basis, the Xerrox series deals with the manipulation of data by means of endless reproduction. Due to the inherent fallacy of the procedure involving the making of copies made from other copies, everyday’s sounds become so altered that they can be hardly associated with the source material. As a result, entirely new sounds are created: copies of originals become originals themselves.
Following Xerrox Vol. 1 (2007), Vol. 2 (2009), Vol. 3 (2015), Carsten Nicolai continues the pentalogy eluding the accuracy and precise sound design for which he’s renowned, and turning to a more harmony-driven composition technique.
Unlike the previous Xerrox albums, whose starting point is a set of samples extracted from external sources and fragments of recordings, Vol. 4 compounds under a unified cinematic soundscape, warm chords, thrumming digital ambiences, liquified electronics, drones, and noise sustained by floods of strings. The tension between the organic warmth and static curves, broads tones into distant roars and electronic cascade of sounds.
While Alva Noto's oeuvre is predominantly affiliated with pristine sound design, Xerrox holds more intimate gestures and emotional sensibility. This fourth volume shuns further from the conceptualism and orderliness of prior musical outputs, ranging from heart-warming elegies to mind-bending sci-fi projections in extrasolar territories." [label info]
"It took five years for Carsten Nicolai to release the third volume to his five-part series Xerrox, and it took five more to release the fourth. At this rate, it will be 2025 when we will see the final chapter. Although there are rumblings on the intarwebs that the fourth instalment, which should be depicting the letter 'X' again of the typeface 'XERROX', is actually the first one, with the same image on the cover. I guess we'll have to wait and see. Meanwhile, one of the reasons for an interval in between the volumes can be attributed to the split between the Raster and Noton labels, which occurred in 2017, after the Raster-Noton's 20th anniversary. So, although a keen eye may notice that this particular entry in the series appears on another label, the continuity between the music, artwork, layout, packaging, and pretty much everything else, is still intact. For that we thank thee. Whereas Volume 1 was attributed to the "Old World", Volume 2 "To The New World", and Vol. 3 was "Towards Space", this fourth instalment is subtitled as "Transit Extrasolar Territories And Inner Worlds". So the trajectory is further and out, and so are the sounds, depicted within.
This fourth instalment is even more 'ambient', if one may call it that. Gone are the digital structures, copied with all of the artefacts of the process, and replaced with warm swells of organic-sounding strings, which breathe with the punctuating deep bass. I would have almost expected the opposite, as we flew into the extrasolar regions of our universe - something darker, colder, and void. But upon another reflection, fundamental sonic expressions within the fourteen pieces of the album totally make sense, since it is the human world, of the old and new worlds, that occupies within the digital domain. The rest of the creation is beyond the numbers. And yet... if digital emerged from minds and will of humans, is it not part of the organic? This, and many other questions, can be but glimpsed by travelling onboard with Alva Noto, who intricately weaves an aural frame which is by far his best in series.
Of course, I've got all of the four instalments on CD, and have aligned them all to spell out "XERRO..." but at this point, I'm leaning towards grabbing a 2x12" edition of the album, since its vibrations and pure chime must be experienced through surface listening. It's also worth noting, that this album was originally finished in February, just as the pandemic began to unfold across the globe. And, as my dear friend Peter van Cooten notes on his ambientblog writeup, "this means that the emotional impact of this music is different now than it would have been without the COVID-19 crisis," with which I wholeheartedly agree. Xerrox Vol.4 is an album worth listening to on numerous continuous repeats, and if you prefer, you can lie down and turn off the lights. And as you float out of these outer worlds and through your inner, I hope to see you on the other side." [Headphone Commute]
|
2020 |
€23.00 |
|
| |
Xerrox Vol. 4 |
CD |
"Alva Noto returns to his much awaited Xerrox project with Vol. 4, the fourth installment of the five-piece intended series based on the concept of digital replication of source material.
Using the process of copying as a basis, the Xerrox series deals with the manipulation of data by means of endless reproduction. Due to the inherent fallacy of the procedure involving the making of copies made from other copies, everyday’s sounds become so altered that they can be hardly associated with the source material. As a result, entirely new sounds are created: copies of originals become originals themselves.
Following Xerrox Vol. 1 (2007), Vol. 2 (2009), Vol. 3 (2015), Carsten Nicolai continues the pentalogy eluding the accuracy and precise sound design for which he’s renowned, and turning to a more harmony-driven composition technique.
Unlike the previous Xerrox albums, whose starting point is a set of samples extracted from external sources and fragments of recordings, Vol. 4 compounds under a unified cinematic soundscape, warm chords, thrumming digital ambiences, liquified electronics, drones, and noise sustained by floods of strings. The tension between the organic warmth and static curves, broads tones into distant roars and electronic cascade of sounds.
While Alva Noto's oeuvre is predominantly affiliated with pristine sound design, Xerrox holds more intimate gestures and emotional sensibility. This fourth volume shuns further from the conceptualism and orderliness of prior musical outputs, ranging from heart-warming elegies to mind-bending sci-fi projections in extrasolar territories." [label info]
"It took five years for Carsten Nicolai to release the third volume to his five-part series Xerrox, and it took five more to release the fourth. At this rate, it will be 2025 when we will see the final chapter. Although there are rumblings on the intarwebs that the fourth instalment, which should be depicting the letter 'X' again of the typeface 'XERROX', is actually the first one, with the same image on the cover. I guess we'll have to wait and see. Meanwhile, one of the reasons for an interval in between the volumes can be attributed to the split between the Raster and Noton labels, which occurred in 2017, after the Raster-Noton's 20th anniversary. So, although a keen eye may notice that this particular entry in the series appears on another label, the continuity between the music, artwork, layout, packaging, and pretty much everything else, is still intact. For that we thank thee. Whereas Volume 1 was attributed to the "Old World", Volume 2 "To The New World", and Vol. 3 was "Towards Space", this fourth instalment is subtitled as "Transit Extrasolar Territories And Inner Worlds". So the trajectory is further and out, and so are the sounds, depicted within.
This fourth instalment is even more 'ambient', if one may call it that. Gone are the digital structures, copied with all of the artefacts of the process, and replaced with warm swells of organic-sounding strings, which breathe with the punctuating deep bass. I would have almost expected the opposite, as we flew into the extrasolar regions of our universe - something darker, colder, and void. But upon another reflection, fundamental sonic expressions within the fourteen pieces of the album totally make sense, since it is the human world, of the old and new worlds, that occupies within the digital domain. The rest of the creation is beyond the numbers. And yet... if digital emerged from minds and will of humans, is it not part of the organic? This, and many other questions, can be but glimpsed by travelling onboard with Alva Noto, who intricately weaves an aural frame which is by far his best in series.
Of course, I've got all of the four instalments on CD, and have aligned them all to spell out "XERRO..." but at this point, I'm leaning towards grabbing a 2x12" edition of the album, since its vibrations and pure chime must be experienced through surface listening. It's also worth noting, that this album was originally finished in February, just as the pandemic began to unfold across the globe. And, as my dear friend Peter van Cooten notes on his ambientblog writeup, "this means that the emotional impact of this music is different now than it would have been without the COVID-19 crisis," with which I wholeheartedly agree. Xerrox Vol.4 is an album worth listening to on numerous continuous repeats, and if you prefer, you can lie down and turn off the lights. And as you float out of these outer worlds and through your inner, I hope to see you on the other side." [Headphone Commute]
|
2020 |
€16.00 |
|
| AMBARCHI, OREN |
A Final Kiss on Poisoned Cheeks |
LP |
OREN AMBARCHI's Beitrag für die neue "guitar series" auf TABLE OF THE ELEMENTS: vielschichtige Poly-Drones, bestehend nicht nur aus Gitarren-Tönen sondern auch aus elektronischen Kontakt- und Störgeräuschen & sich windenden Feedbacks; ein sehr komplexes Stück, lebendig und elektronisch ausstrahlend in 1000 verschiedene Richtungen. Wunderbar auch, wie es dann allmählich mit glockenhellen Klängen versetzt ausklingt.. AMBARCHI in Höchstform. Himmelblaues Vinyl.
"There is a vivid breadth to the guitar deconstructions of Australian Oren Ambarchi. Sometimes his work takes a delicate lilt; it can also dive into dark and deep pools of sound when he joins cowl-core ensembles Sunn O))) (with Stephen O'Malley) and Burial Chamber Trio (with Greg Anderson). Whether with those bands, solo, or in collaboration with luminaries ranging from Mike Patton and John Zorn to Christian Fennesz, he consistently reroutes his instrument into zones of arch, alien abstraction. A Final Kiss On Poisoned Cheeks offers a dizzying gaze straight into a chasm of extreme frequencies -- paint-peelingly high and bowel-churningly low -- all set atop a sub-strata of menace, angst, and contemplative beauty." Pressed on light-blue marbled, etched vinyl. B-side etching artwork by Savage Pencil." [label info]
"...Still essentially a dronescape, A Final Kiss is rife with sonic activity, so much so that in lesser hands it would be more of a mess, a sort of pretty-ish noise record, but Ambarchi, takes all manner of buzz and glitch, of scrape and hum, and weaves it into a strangely lyrical arrangement. The core of the piece is a thick, undulating low end drone, a muted Niblockian shimmer, that seems not to change so much as shift, reflecting different colors and sounds depending on the angle. Over this nearly constant thrum, exist a veritable universe of strange sounds, streaks of feedback, cricket like electronic chitter,
moaning throbbing swells of guitar rumble, brief blurs of warm soft focus fuzz, layers of crumbling distortion, all of the various
elements constantly shifting and blossoming, collapsing and then blooming again, creating a super organic flow, another instance of
leaving the instruments on the stage, guitars against amps. amps cranked, although here it seems the instruments have come to life, and
we are glimpsing their secret lives, as the communicate musically, telling some sort of story, exchanging mysterious messages, which
while indecipherable to human ears, still manage to sound magical. Guitardrone freaks will, well, freak! Subtly heavy, darkly
drone-y, slightly noisy, rich and dense and textural. Really gorgeous. And totally recommended.
Pressed on swirled turquoise vinyl. One sided, the other side with a super bad ass etching, housed in a thick vinyl sleeve, and of course, as always LIMITED!" [Aquarius Records review]
www.tableoftheelements.com
|
2008 |
€17.50 |
|
| |
Live Knots |
do-LP |
"Oren Ambarchi captured in two exceptional live performances. Mastered and cut by Rashad Becker at D&M. Pressed on double 140g vinyl & CD. Photography by Traianos Pakioufakis and artwork by Bill Kouligas.
'Live Knots, Oren Ambarchi's first release for PAN, presents two live realizations of 'Knots', the epic centrepiece of his Audience of One (Touch, 2012) release. Built on the interplay between Ambarchi's swirling, guitar harmonics and the metronomic pulse and shifting accents of Joe Talia's DeJohnette-esque drumming, the piece merges the organic push and pull of free improvisation with an overarching compositional framework.
'Tokyo Knots' presents the complete recording of a duo performance of the piece by Ambarchi and Talia recorded at Tokyo's legendary SuperDeluxe in March 2013. The performance builds gently on the foundation of Talia's insistent ride cymbal and the shifting tonal bed of Ambarchi's rich overtone-drenched guitar, eventually going into a free rock free fall of buzz- saw harmonics and crashing drums. From within the maelstrom, Talia picks up a pulsing motorik rhythm that leads the piece back to where it began, with the addition of the shuddering, elastic tones of a hand-played spring reverb unit. Krakow Knots' works with the same basic structure but stretches it out to nearly twice the length and adds strings played by the Sinfonietta Cracovia, led by Eyvind Kang on viola. The strings expand the piece's textural range with lush chordal blocks, uneasy dissonances and occasional Ligetiesque swarms of micro-activity, the swelling string tones intensifying the ecstatic nature of the piece as it moves towards its mid-point crescendo in which Ambarchi unleashes a particularly malicious continuum of stuttering harmonic fuzz. The strings then enter with a series of swelling chords, announcing the piece's final movement, and reaffirming the uniqueness of the tonal and compositional language that Ambarchi has patiently developed over the last two decades, in which the influence of post-minimal composers such as Alvin Curran, Gavin Bryars and David Behrman can be felt alongside the inspiration of raw free jazz, harsh noise and academic psychoacoustics. The final moments of the performance pit Talia and Crys Cole's amplified objects and spring reverb textures against a field of gently gliding string glissandi before the audience erupts in much-deserved applause.' Francis Plagne" [label info]
www.pan-act.com
|
2015 |
€29.00 |
|
| AMBER ASYLUM |
Bitter River |
CD |
"Amber Asylum is one of the most influential and respected acts in the neo-classical / dark ambient genre. Group leader, multi-instrumentalist and producer Kris Force boasts a repertoire that includes collaborations with Neurosis and Swans as well as credits for penning soundtrack music for video games, television, and feature films. Her band is known for their distinct brand of chilling romantic mire and brooding darkness constructed with layers of violin, viola, cello, guitar, bass, percussion, and Force's alluring voice. Bitter River is the darkest and most devastating Amber Asylum album ever conceived. The perfect follow-up to the plunging Still Point, this introspective journey into lost love and lost innocence paints powerful sonic portraits of vast, lonely landscapes, dark chambers, rolling fog, and monumental twilight. For the recording, Force employed some of the most accomplished musicians in the underground: long-time Amber Asylum conspirator Jackie-Perez Gratz (Giant Squid, Grayceon) on cello; Leila Abdul-Rauf (Saros) on guitar, piano, and vocals; bass player Eric Wood (Bastard Noise); and drummer Chiyo Nukaga (Noothgrush), along with guest appearances by Sigrid Sheie (Hammers of Misfortune) on flute and Jarboe providing narration. Bitter River features artwork by David D'Andrea." [label info]
"Amber Asylum machten schon immer mehr als nur Musik. Sie schufen die musikalische Untermalung zu Tagträumen. Zumindest zu den Tagträumen, die in die Welt von Elfen, Feen oder Nymphen führten. Die einen auf die Reise in dichte Wälder oder taubedeckten Wiesen im Mondlicht schickten. Die einen mögen dabei an den Herren der Ringe denken, andere an romantisch-verklärte Illusionen über eine Zeit als die Menschen ihre Seele als Teil der Gesamtdynamik der Natur und diese als von vergessenen Zaubern durchzogen betrachteten. Wie auch immer scheint die Musik von Amber Asylum sich nicht mit dem modernen Großstadtleben vereinen zu wollen. Das dieser Anti-Modernismus nicht immer nur romantische Gedankenverlorenheit ist, zeigt sich, wenn man einige Namen assoziierter Weggenossen und Nebenprojekte unter etwas genauer unter die Lupe nimmt.
Das sagt dann aber weder was über Kris Force, die maßgeblich hinter Amber Asylum steht, noch über die Musik dann wirklich etwas aus.
Auf "Bitter River", dem mittlerweile siebenten Album der Band, wird Force von Jackie Perez-Gratz, Sigrid Sheie und vor allem von Leila Abdul-Rauf unterstützt. Letztere lieh dem Projekt nicht nur ihre Stimme sondern trug auch neben Kris Force zu Songwriting bei. Und gerade ihr pathos-gefüllter, fast opernhafter Gesang hebt Amber Asylum aus der Menge der Neo-Folk Bands heraus und nimmt der Musik damit den Beigeschmack des Klagegesanges Rückwärtsdenkender.
Charakterprägend ist auch die Mithilfe von so unerwarteten Gastmusikern wie dem Noothgrush und Graves At Sea Schlagzeuger Chiyo Nukaga, Eric Wood (Ex-Man Is The Bastard, Bastard Noise) und Jarboe von den Swans. Denn "Bitter River" ist nicht nur besinnlich verträumt, es ist über weite Strecken vor allem von einer düsteren, ungewissen Stimmung geprägt. Das macht dieses Album, das beim ersten Hören eine nette Untermalung für verschneite Winterabende zu sein scheint, auch in diesem Sommer nicht komplett deplaziert, ist doch jeder verträumte Tag im Park Unsicherheit und der Angst vor dunklen Wolken und plötzlichen Gewittern und Regengüssen geprägt." [Tinnitus-Mag]
www.profoundlorerecords.com
|
2009 |
€13.00 |
|
| AMON |
Nona |
10" |
Nach langer Veröffentlichungspause gibt es nun immerhin eine maxi-CD bzw. 10“ von einem der besten dark ambient-acts. NONA ist eine faszinierende Soundreise in präverbale Sphären, mysteriöse & wunderschöne Klänge die sich in langsamen, aber dynamischen Wellenbewegungen durch Zeit und Raum bewegen... auf der vinyl version ist ca. 10 Minuten mehr Material als auf der maxi-CD !
After a long release-pause here’s a new maxi-CD / 10“vinyl from one of the best dark ambient-acts. NONA is a fascinating soundjourney into pre-verbal spheres, mysterious and truly beautiful noises move in slow but dynamic waves through time and space..
Limited edition on clear vinyl, with artwork by Daniel Crokaert (Mystery Sea). On the vinyl version is about 10 minutes more material than on the CD !
“Nona" takes inspiration from a case of xenoglossy (the ability to speak in an unlearned and unheard foreign language, often associated with past-life recall, states of trance or hypnosis and mediumship) discovered in Great Britain around the early Thirties when a woman in state of trance expressed herself in a language which was recognized as ancient egyptian. This voice from the past was called "Nona" or "The One Without a Name".[from the press-release]
|
2003 |
€12.00 |
|
| APOPTOSE |
Blutopfer |
LP |
"Blutopfer is back - for the first time on vinyl! In 2017 we celebrate the long overdue return of Apoptose's second album which originally surfaced in 2002. In the 15 years since its release, Blutopfer has become a classic album of the industrial/ritual-music genre. It combines raw ambient electronics with drumming footage of the Easter processions in the village of Calanda in Aragón, Spain. This album is still unique in its attitude and effect. A "must have" that has been unavailable for quite a while.
Now, the Blutopfer LP edition brings back all the emotions and even more. The sound was remastered with great care to wake the spirits hidden in the tremendous drums. The LP comes in new artwork with liner notes by both industrial music legend Jordi Valls of Vagina Dentata Organ and Apoptose. So even fans who know the album by heart will be able to discover new aural and visual facets. While the original CD was made of purple plastic to mimic a colour vinyl LP, here is the real thing: the LP is pressed on drummer robe violet vinyl in an edition of 300 copies. Included is a free download code for a special 8-track digital version. It features a bonus track, recorded in 2016 with original source material that hadn't been used before."
www.tesco-germany.com
|
2017 |
€21.50 |
|
| ARASTOO & AEMAE |
Ostrakon |
LP |
"Two side-long ice sculptures built on piano and processing, the piano coming strictly from Arastoo Darakhshan, while both add their effects but Brandon Nickell as Aemae delivers digital doctoring as his primary outlet. The title track is a wonderful splintering of sound, with glacier cracking in on the stark black and white keys. Aemae’s timing with noisier nuance is excellent on this, and he has at least one treatment like a frozen train going off the tracks! Here the sum decimates the parts, Arastoo’s delicate hesitance almost dances around a ghost of Clara Rockmore. A very open piece with rays of mourning and crystal shards of electronics, it captures that ever-important balance of order and chaos. If the first piece is Nickell plating Darakhshan, then perhaps the second is a reverse, with a layer of Aemae cast out and the piano imposed on top? Just a guess, maybe I’m too concerned without tallying yin and yang. The first piece really is a stunner with a fascinating name that wiki shows as the derivation for ostracism. Yeah, this is outsider music but I suspect readily acceptable to many ears, of course we too at KFJC have been happily exiled beneath main street for decades of decadence. Limited release on Nickell’s own label."
[Thurston Hunger / KFJC]
"A long in the works collaboration from two aQ favorites, Aemae and Arastoo. We've listed both Aemae releases, but Arastoo has been a bit more elusive, with tons of super limited vinyl and cd-r releases, of which we've only ever managed to review 3. Well, the two have come together, to produce this, the first in a new salvo of Bay Area sound art from Aemae, aka Brandon Nickell's Isounderscore label. And a pretty fantastic start. Arastoo plays the piano, and then the two shape and mold the piano into two side long pieces, both quite impressive.
The A side is mostly straight piano all the way through, some gorgeous fluid playing, some stunning arrangements, but the two subtly shape and twist throughout, adding mysterious little music box flourishes, sudden squalls of super high end skree, but those moments are actually quite controlled, the sounds sculpted onto dog whistle melodies, and haunting upper register textures. The subtle production tweaks really only augment, creating complimentary sounds, or add bits of ambience, allowing the piano to drift and sway and unfurl its melody, seemingly oblivious to what's going on around it.
The B side however, finds the sound of the piano obliterated, transformed completely into long shimmering streaks of layered metallic reverberation, a bit industrial sounding, layers of constantly shifting whir and rumble and hiss and roar, like a choppy sonic sea, building to a buzzing crescendo before settling back down into a tranquil sea of black ambience, as the piano returns, unfurling gentle, yet ominous minor key melodies, all very creepy and cinematic, but also quite lovely. LIMITED TO 320 COPIES. Super striking silkscreened covers, with original artwork by Arastoo." [Aquarius Records]
www.isounderscore.com
|
2008 |
€14.50 |
|
| ARCANA |
Raspail |
CD |
"Die CD kommt in einem hochwertigen Artwork, das sowohl ein 8-seitiges Leporello, als auch ein 12-seitiges Booklet enthält!
Arcana sind seit Jahren über alle Grenzen hinweg stilprägend und eines der großen Aushängeschilde der weltweiten Gothic Wave Szene. Ihre Musik umfasst eine einzigartige, kraftvolle und verzauberte Anmutung, der sich kaum jemand entziehen kann. Mit ihrem neuen Werk Raspail schlagen Arcana nun das nächste Kapitel ihrer einzigartigen Karriere auf und verschmelzen die filigrane Romantik ihrer früheren Werke, um ihr erfolgreiches Album Inner Pale Sun, mit bahnbrechendem Gothicwave der Neuzeit. Raspail begeistert durch die außergewöhnliche Mischung aus orchestralen, mächtigen Soundcollagen, natürlich instrumentierten Arrangements, und den himmlisch klaren Stimmen des Baritons Peter Bjärgö und der Sopranistin Ann-Mari Thim, die das Album in einen mystischen Klangzauber verwandeln der alles bisherige in den Schatten stellt.
Die inzwischen sechste Veröffentlichung des schwedische Quintetts ist ein magisch, geniales Glanzstück, getragen von zarten Pianotupfern und intensiven Klangwelten aus Streichern und Hörnern. Klassisch, melodramatisch und kaum zu überbieten!" [label info]
"Arcana has turned another page in the book and the next chapter will be a meeting between the old and the new. As before, we hear the many instruments that vary the music, but this time the vocals parts have taken more room. The medieval sound from Dark age of Reason and Cantar de Procella is there, the majestic sound from... The Last Embrace appear along with the serene notes from Inner Pale Sun and the oriental instruments from Le Serpent Rouge. Blend this with the new sound once again created by Peter Bjärgö, and you will have Raspail, the next chapter in the book of Arcana." [label info]
www.kalinkaland.de |
2008 |
€14.50 |
|
| ARTEFACTUM |
Sub Rosa (SOLD OUT) |
7inch |
"Drone Records is very proud to present the first vinyl-release of the enchanting ARTEFACTUM project from Poland! Described by herself as "Female Esoterica", SUB ROSA opens a vast space filled with tons of different sounds coming from very far away, as nebulous melodies, whispers & voices & choirs, little clicks & cracks, with soft percussive structures appearing on Side B. The two pieces named ROSA ALBA and ROSA RUBEA (white & red rose) have a strong metaphorical alchemistic background, meaning the end point of all alchemistic transmuations. The overall release including the beautiful artwork gives the impression of an almost fabulous acoustic phantasy, so refined & almost caressing yet secretful at the same time. A record filled with "sonic magic" !
Filed under: Alchemistic Drones / more info: www.myspace.com/artefactum
PINK VINYL. SPECIAL HANDMADE COVERS USING DECOUPAGE TECHNIQUE; COVERS CLOSED WITH A PINK BOWED RIBBON" [label info]
www.dronerecords.de
"...ARTEFACTUM ist eine One-Woman-Show aus Polen. Seit 2001 tritt MERISSA D'ERLETTE in der Regel unter ihrem Projektnamen auf und war in diesen sieben Jahren, bei genauerer Betrachtung, äußerst umtriebig. Sie veröffentlichte eigene Werke auf OLD EUROPA CAFE und BEAST OF PREY, war beteiligt am "Père Lachaise"-Sampler (STEINKLANG und DIVINE COMEDY RECORDS) und an "...Where Tattered Clouds Are Stranding" (THE EASTERN FRONT, Besprechung hier). Außerdem unterstützt sie ihre Landsleuten von HOROLOGIUM und hat bereits diverses Split-Material veröffentlicht, unter anderem mit MOAN und DESIDERII MARGINIS.
Das Interesse von ARTEFACTUM gilt alchemistischen Formeln und Erkenntnissen, die musikalische Umsetzung geht als solider Dark Ambient durch. Besonders gelungen sind einige überraschende Ausnahmen, wie "The Night Waltz In Vienna", einem Beitrag zur Geburtstags-Box von OLD EUROPA CAFE: Hier dominieren weiblicher Gesang und Geige, klanglich in den ersten Jahrzehnten des vergangenen Jahrhunderts angesiedelt.
Als 'Alchemistic Drones' wird die aktuelle Single vom Label einsortiert; Dark Ambient zwar, aber gleichfalls mit Überraschungen und deshalb sehr erfrischend. Die beiden Songs sind zwei alchemistischen Umwandlungsprozessen gewidmet: Die 'Weiße Rose' ("Rosa Alba") beschreibt den Übergang von Materie in reines Silber, die 'Rote Rose' ("Rosa Rubea") in reines Gold. Neben der typischen Atmosphäre von hohen, leeren und unheimlichen Räumen wartet der 'silberne' Track mit einer Reihe von sakralen Elementen auf. Mal wispert ein elektronischer Mönchschor, mal – kurz vor dem Ende der Verwandlung – scheinen sich Engel zu Wort zu melden. Ein Schimmern umgibt das Stück, das wie die hörbar gemachte Schwingung von Steinen, Kristallen oder anderem alchemistischen Handwerkszeug wirkt. Die 'goldene' B-Seite ist aufgeladen mit Energie: Lichtstrahlen treffen aufeinander, Geisterwesen einer Science-Fiction-Stadt halten eine Versammlung ab. Aus dem Gedankengewirr schält sich am Ende ein repetitiver Trommelrhythmus, der natürlich den rituellen Eindruck noch verstärkt.
Sehr angenehm zu hören, dass Dark Ambient nicht immer nur düstere Trostlosigkeit mit viel Hall sein muss. Wer sich für ein paar Minuten auf einen Flirt mit der Alchemie einlässt, kann in zwei Momentaufnahmen von Beschwörungsritualen versinken. Die gestanzten Herzchen auf dem Cover fallen auch wirklich kaum auf." [Michael We. / NonPop]
|
2008 |
€7.00 |
|
| |
Rosarium Hermeticum |
CD |
"This opus has already seen the light of day. It was back in 2006 when Artefactum’s preceding album Chaos Elements was still fresh out of Athanor’s cavernous hearth. Yet, on her sophomore, strictly limited and self-released work Rosarium Hermeticum, Merissa d’Erlette developed her unique style even more, granting it depth and feminine charm on a new scale. There’s mystery there enclosed within nearly an hour of otherwordly ambient music and sensual whispers that the project has been known for ever since.
Those six skillfully crafted tracks are now available again on Ur Muzik with two bonus pieces and brand new artwork. Prepare yourself to get immersed in the unparalleled sound of Artefactum. Coming out on the 1st of January 2015, as a digipack, in a limited number of 500 copies." [label info]
ur-muzik.blogspot.de
original info from 2006:
"After very well received materials "Chaos Elements" on Athanor and "Sangreal" split on Old Europa Cafe, Artefactum is back with a brand new full-length "Rosarium Hermeticum". This time even more ritual than ever, Artefactum brings back the best atmospheres of early CMI artists, esoteric Ain Soph era combined with female whispers, tribal drums and more refined sound quality. This release comes with full colour, 8 pannel A5 booklet, similar to that of recent "Sangreal". Professional CDr limited to just 111 copies! [label info]
|
2015 |
€12.00 |
|
| 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 |
Rites I & II |
CD |
We’re glad to welcome Belgian artist Peter Verwimp and his shamanistic guitar driven soundscapes. The first instalment for the Rites series touches on the importance of ceremony and ritual in our daily lives. It deals with our interconnectedness with nature as a whole and the necessity to acknowledge and use this connection as an amplifier of thoughts, ideas and emotions. Minimal, meditative ambient drones with layers of meandering guitars and voices mixing elements of doom, drone and ambient experimentation. Rites I & II take a shamanic and animistic approach to our surroundings, unveiling inner and outer visual landscapes, a journey through flesh, sound and spirit.
CD Edition of 500 copies in 6 panels Digisleeve. 2 Tracks. Running Time 37:51
https://cycliclaw.bandcamp.com/album/rites-i-ii
"Slowly but certainly, Peter Verwimp is becoming the forerunner for the new wave of Antwerp ambient. Throughout the years I have seen him perform his enigmatic guitar drones and soundscapes numerous times. From petite venues and living rooms to forests and stages everywhere, Ashtoreth manages to turn everything into a place for rituals and meditation.
I think it was only a matter of time before a quality label like Cyclic Law would become interested in this shamanic approach to ambient. With 'Rites I & II', the first installment of a series, Ashtoreth delivers a long ceremony and a deep meditation.
'Rite I: Earth' opens with heavy guitars and powerful vocals. When I heard these for the first time, I wasn't sure if I was listening to Ashtoreth or to an intro for a Conan album. This is a somewhat different approach from the slowly in-fading soundscapes. But mostly, it immediately grabs the listener's attention for its brutalist approach. Gradually, however, the track evolves. The distortion fades away and other soundscapes appear. They sound like the breathing of the earth. Then, hints of melody appear, in perfect Ashtoreth tradition. In a way, this first track feels like a journey from something bad and scary to a feeling of piece of serenity.
'Rite II: Fire' is somewhat shorter but still long enough to be a narrative drone ambient highlight. It drives on gloomy drones and shamanic voices, a bit like we're used from Peter Verwimp by now, but let that not be a turn-off. This track is downright eerie, a perfect addition to the heaps of dark ambient masterpieces released by Cyclic Law. So yes, this is a stunning piece of work and it comes with equally stunning artwork by GootSlaper. I don't think this needs much more explanation. 'Rites I & II' is one of those albums that deserve a spot in your ever widening and mind-altering collection." [Merchants of Air]
"Here’s an interesting story. There was an amazing Belgian progressive, experimental hardcore band from Antwerp and their name was Maya. Until now, I consider their debut album as the epitome of hardcore progression, an utterly unrecognized gem and one of the most important hardcore albums in the history of the genre! In 2013, I uploaded Maya’s debut via Youtube, as I believed that such a gem deserves the utmost recognition. Not much time passed and I received a message from a fine gent, Peter Verwimp (Building Transmissions, Haunted Places, Station Grey, Stifled Cries) thanking me for that upload and telling me that he played in… Maya! Shocked as I was, he added that he has a new (at the time) project, named Ashtoreth! Much time have passed, people and I’m extremely pleased to review Peter’s new creation.
Ashtoreth – as I read – is in search of a shamanistic perspective, channeling at times: minimal, meditative drones with layers of meandering guitars and at others, a catharsis of doom, drone, ambient, folk, metal, noise and experimentation, always in a free and improvised form. Intriguing, right?
Rites I & II is a two-piece album, clocking at almost 38 minutes. Being heavily based on drones and ambient, it creates a certain space and a holistic appropriation of darkness, a ritual and introverted expedition into a spiritual and organic vastness. Ashtoreth’s sound is penetrating in every aspect: shamanic chanting, energy razor-blades in the form of minimal guitar, a huge embrace of bass driven currents, cathartic and certain. An aesthetic procreation and the well-perceived certainty of exquisite ambient music, that leaves a feeling of void thereafter. Music that delivers plentifully giving one climax after the other! Serene soundscapes with such power and punch!
It’s amazing to hear in this recording elements of Peter’s early works, even before Ashtoreth. The listener faces a recognizable and fine-tuned sound, with very sincere and solid continuance as developed over the years. In Ashtoreth’s case, ambient that – I dare to say – includes in it’s core, amazingly concealed, but present hardcore (!) elements. In fact, many different but related elements merged together, quite skillfully. And the album is presented as a beautifully packaged vinyl and equally beautiful, six-panel CD released by the Berlin based label, Cyclic Law.
Peter Verwimp has become an artist of his very own kind; a self-proclaimed sonic shaman and very well deserving of this attribute. Let us witness and be merry for his wonderful incantations." [Toneshift]
|
2019 |
€13.00 |
|
| ASIA NOVA [=ASIANOVA] |
Magnamnemonicon (SOLD OUT) |
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 |
The Flower and the Vessel |
do-LP |
French poet and ASMR auteur Félicia Atkinson has frequently fixated on the elusive interwoven relationship between microcosms and macrocosms – how even the quietest creative act ripples outward in unforeseen ways, a whisper with no fixed meaning. Her latest work pursues this notion in a more literal and lasting fashion, as it was crafted while pregnant on tour, in impersonal hotel rooms in foreign cities. She describes it as “a record not about being pregnant but a record made with pregnancy.” Each day and night, finding herself far from home, she asked herself “What am I doing here? How can I connect myself to the world?” The answer gradually revealed itself: “With small gestures: recording my voice, recording birds, a simple melody.”
In truth there is nothing simple about The Flower & The Vessel. The album’s 11 songs span a vast pantheon of whispering textures, opaque moods, and surreal spoken word, leading the listener through a mirrored hall of beguiling mirages. Atkinson cites a trio of French classical compositions from her childhood as formative influences on this particular collection: Maurice Ravel’s “L’enfant et les sortilèges” (“a scary opera for kids”), Debussy’s “La Mer” (for its union of narration and music) and Erik Satie’s “Gymnopédies” (as an exercise in negative space, irony without cynicism, and “melody with doubt”). There’s certainly a shade of classicism woven within these tracks, however veiled, abstracted, or unorthodox. Melancholic piano motifs repeat then retreat into a radiant frost of shivering frequencies; processed voices recite cut-up poems and interviews over delay-refracted Rhodes and Wurlitzer; iPad gamelan patterns flutter from meditative to melancholic and back again, offset by pointillist patches of delicate software synesthesia.
Although much of Atkinson’s past discography is shaped by speech and the lyricism of language, The Flower & The Vessel ventures farther into silence, absence, and voiceless wilderness. Among her sources of inspiration were “women who wonder, dream, and create vacant spaces in their art,” as well as Ikebana flower arrangements, which reflect her own relationship with listening: “structure combined with everyday noises, selecting them to make a sparse music bouquet.” Field recordings from Tasmania and the Mojave Desert murmur beneath hushed reverberations of gong, vibraphone, marimba, softly processed into an elegant emptiness, alternately eerie and serene.
Her mode of minimalism has long been one of reduction, riddles, and curation, but here Atkinson’s synergy feels close to apotheosis, emotive but ambivalent, a ceremony of expectation and invisible forces. The 19-minute closing collaboration with SUNN O))) guitarist Stephen O’Malley, “Des Pierres,” is one of the album’s few pieces tracked in a proper studio (Music Unit in Montreuil, France) but it broods and burns with the same subliminal majesty as the rest of The Flower & The Vessel: an ember in amber, seeds planted in shifting sands. Atkinson’s voice flickers like a flame, framed by slabs of shadowy feedback. Her process may be personal is but its impact ripples to the edges of existence: “How does the act of creation connect us, not only to history, but to the cosmic? It’s a process of taking, and then giving back. It makes us belong to the world.”
The Flower and The Vessel features original artwork by Julien Carreyn, and is mastered by Rashad Becker at D+M.
https://shelterpress.bandcamp.com/album/the-flower-and-the-vessel-2
|
2019 |
€29.00 |
|
| |
The Flower and the Vessel |
CD |
French poet and ASMR auteur Félicia Atkinson has frequently fixated on the elusive interwoven relationship between microcosms and macrocosms – how even the quietest creative act ripples outward in unforeseen ways, a whisper with no fixed meaning. Her latest work pursues this notion in a more literal and lasting fashion, as it was crafted while pregnant on tour, in impersonal hotel rooms in foreign cities. She describes it as “a record not about being pregnant but a record made with pregnancy.” Each day and night, finding herself far from home, she asked herself “What am I doing here? How can I connect myself to the world?” The answer gradually revealed itself: “With small gestures: recording my voice, recording birds, a simple melody.”
In truth there is nothing simple about The Flower & The Vessel. The album’s 11 songs span a vast pantheon of whispering textures, opaque moods, and surreal spoken word, leading the listener through a mirrored hall of beguiling mirages. Atkinson cites a trio of French classical compositions from her childhood as formative influences on this particular collection: Maurice Ravel’s “L’enfant et les sortilèges” (“a scary opera for kids”), Debussy’s “La Mer” (for its union of narration and music) and Erik Satie’s “Gymnopédies” (as an exercise in negative space, irony without cynicism, and “melody with doubt”). There’s certainly a shade of classicism woven within these tracks, however veiled, abstracted, or unorthodox. Melancholic piano motifs repeat then retreat into a radiant frost of shivering frequencies; processed voices recite cut-up poems and interviews over delay-refracted Rhodes and Wurlitzer; iPad gamelan patterns flutter from meditative to melancholic and back again, offset by pointillist patches of delicate software synesthesia.
Although much of Atkinson’s past discography is shaped by speech and the lyricism of language, The Flower & The Vessel ventures farther into silence, absence, and voiceless wilderness. Among her sources of inspiration were “women who wonder, dream, and create vacant spaces in their art,” as well as Ikebana flower arrangements, which reflect her own relationship with listening: “structure combined with everyday noises, selecting them to make a sparse music bouquet.” Field recordings from Tasmania and the Mojave Desert murmur beneath hushed reverberations of gong, vibraphone, marimba, softly processed into an elegant emptiness, alternately eerie and serene.
Her mode of minimalism has long been one of reduction, riddles, and curation, but here Atkinson’s synergy feels close to apotheosis, emotive but ambivalent, a ceremony of expectation and invisible forces. The 19-minute closing collaboration with SUNN O))) guitarist Stephen O’Malley, “Des Pierres,” is one of the album’s few pieces tracked in a proper studio (Music Unit in Montreuil, France) but it broods and burns with the same subliminal majesty as the rest of The Flower & The Vessel: an ember in amber, seeds planted in shifting sands. Atkinson’s voice flickers like a flame, framed by slabs of shadowy feedback. Her process may be personal is but its impact ripples to the edges of existence: “How does the act of creation connect us, not only to history, but to the cosmic? It’s a process of taking, and then giving back. It makes us belong to the world.”
The Flower and The Vessel features original artwork by Julien Carreyn, and is mastered by Rashad Becker at D+M.
https://shelterpress.bandcamp.com/album/the-flower-and-the-vessel-2 |
2019 |
€16.00 |
|
| AUTECHRE / HAFLER TRIO |
³oæh |
7 x LP BOX |
what were they? oh, sit down here, and I'll tell you. long, long ago, there were pieces of shiny matter which issued forth in an erratic manner over many aeons. and what is this? why, it's a box. and what's in the box? well, those small shiny things are now larger shiny black things. and what use are they? well, none, but you can get sounds out of them, if you treat them nicely. really? yes, really. the miracles of modern science.
all (yes, all) of the Autechre/Hafler Trio collaborations topped and tailed and groomed and lacquered and fizzed and popped onto 7 Long-Playing Stereo Microgroove Records, in a box, for purchase, by you. or someone you don't know. either is a reasonable situation.
Lp01. æ³o / h³æ
Lp02. æo³
Lp03 ³hæ
Lp04/5 5ah³eo
Lp06/7 ha³oe
180g DMM vinyl
New black artwork by Andrew McKenzie of The Hafler Trio
Spot varnished sleeves and box
Art prints in black envelope
|
2023 |
€149.00 |
|
| B*TONG / FABIO ORSI |
Hold me tight |
MC |
30 minutes of Ambiences.
Dark wastelands, wide clouds, warmth and light.
limited and handnumbered to 50 copies on turquoise-shining c30 Cassette-Tapes, double folded inlay and a card with foto-art.
Cover-Artwork by Christine Leutkart, Layout and Foto-Card by Grodock.
https://grubenwehrfreiburg.bandcamp.com/album/hold-me-tight
|
2020 |
€8.00 |
|
| BABYLONE CHAOS |
Les machines ecarlates |
CD |
The project of BOTCHAN KARISEN (Belgium) with a new work, a deep tour de force into a electronic / technological chaos-music, with influences from Industrial, Collage-Sounds and even Electro-Acoustic, dark & ecstatic & dangerous !
"A man with a fish eye stared at me when I satisfied my computer with this CD. The artwork on this release is awesome, something which is thoughtful to do when you release your CD in a DVD case. On the front of “les machines ecarlates” stands a man pierced through his forehead with a huge piece of piping. On the back a man with a fish eye gives me a look, which keeps me away from the track listing underneath it. I must say, it pleases me to receive such artwork, I could write a good review about the artwork alone.
Babylone Chaos is new to me, not only as an artist, but the music is very new to me too. Listening to the first track “Dissect me” I got very enthusiastic. This artist knows how to frighten someone with sounds. Electronic heavy sounds flow back and forth while strange ‘ahhh’s and ‘oohh’s can be heard. A shivering breath, winds and strange electronic drums complete the picture. Shocked awake by a heavy pound on a barrel and a cracking door. Where am I at this point? The gruesome sounds I heard before are overtaken by heavenly sounds, birds and some vocals. But it was a short victory, the dark sounds kick in again and the beat starts to get back at me. I am stunned, this is not music, this is straight on sound-engineering! The second track “Scared datas” goes like the first track, but gets more of a triphop sound. Dark triphop, that could become a trend. Count me in for that genre, because what Babylone Chaos is doing here is new, refreshing and awesome. The third track “Blood on thorns” gets a lot noisier than the previous tracks and is suddenly petrifying when circus music starts. (I always had something against the circus and clowns, don’t ask why.)
Listening to the CD I found that Babylone Chaos can be compared, in a strange way, with Aphex Twin. You can hear beats, but they never last longer than a few measures. That is one of the reasons why this CD sounds so great. Babylone Chaos doesn’t care about being tagged with a genre; the artist just does what he wants. The CD isn’t one you listen to on a regular occasion. Listening to “les machines exerlates” is a trip. A trip to the beautiful, the ugly, the frightening the heaven and the hell. As I continued my exploration, I found even more interesting material. The piano pieces in the fifth track “Death crusade” are so strange. It doesn’t fit with the music, but in some way it jet [i]does[/i] fit. The tender background sounds are divided and shattered to pieces by deep noisy scrapes, pounds and scratches. This is music which can be compared with using acid. But please dear reader; don’t use it at the same time!
The tracks go well into each other, although that isn’t hard with such experimental music. Track eight, “Paranoiac morons”, made me think of a scene in the Kubrick movie “Full metal jacket”, where Joker tries to find the sniper who turns out to be a woman. I’ve always found that scene and especially, the music, incredible. But I think “Paranoiac morons” would be even better as a soundtrack to that scene.
As an overall thought I must say that this release surprised me muchly. The packaging is awesome, although I can’t stand it when a CD doesn’t fit between the regular jewel cases and digipacks. The music is refreshing and “les machines ecarlates” is more like a piece of art then a CD filled with songs. “Les machines ecarlates” brings you to the verge of your life, a leap of faith, a trip to hell and back and leaves the unprepared to wonder. This isn’t my regular “sing along in the shower” CD, this is something I admire, treasure for the special moments and certainly use in tiny portions. All those experimental fans out there, beware! “Les machines ecarlates” gives you the journey of a lifetime." [Heathen Harvest]
label-website: www.opn.fr
|
2007 |
€8.00 |
|
| BAD SECTOR |
Xela |
LP |
Despite the existence of Massimo Magrini's project since 1991, Bad Sector has rarely been released on vinyl. There have been a few 7 inches and one 10 inch released back in the Nineties. Now is the time for the very first vinyl in 12 inch format! Xela originally appeared on CD in 2001 and contained an edited and remastered version of a backing tape from a 1996 festival performance in Berlin, that was curated by Staalplaat.
Especially mastered for vinyl, Xela is everything that the specific sound of Massimo Magrini stands for. Deep droning waves echoing through the abyss are underpinned by minimalistic archaic rhythms and processed radio transmissions, creating an inexplicable mystery of beautiful and timeless sound sculptures.
100 copies in clear vinyl.
200 copies in black vinyl.
The cover artwork is based on photographs by Stefan Alt.
www.loki-found.de
|
2017 |
€16.00 |
|
| BAILEY, THOMAS BEY WILLIAM |
La Production Interdite |
MC |
Thomas Bey William Bailey is a researcher and author of several books (e.g. "To Hear The World With New Eyes," "Micro Bionic") as well as a dedicated sound artist: in whatever medium he chooses, he focuses upon the extremes of information in order to determine both their liberating potential and their hidden dangers. Over a period of time that has seen him collaborating with the sonic arts communities of Japan, Central Europe and several distinct regions of the United States, he has developed an unorthodox style not beholden to any single popular or ‘avant garde’ genre: his embrace of the whole sonic spectrum has, in recent years, resulted in a high-intensity form that cohesively joins bracing noise and sidereal ephemera to seductive silences.
TBWB’s debut for Elevator Bath, "La Production Interdite," carries on a tradition of albums themed around under-reported ‘threshold’ states of consciousness. Following on the heels of the previous year’s "A Desperate Expediency" - an ‘enhanced interrogation’-themed
album on Brazil’s Seminal Records - "La Production Interdite" takes its inspiration from the phenomenon of autoscopy, i.e. the visualization of doppelgängers or phantom doubles. Split into a purely instrumental half-hour side and a vocally-enhanced side in which TBWB narrates accounts of autoscopic events, this new album oscillates between moments of narcotic consolation and moments of sharp poignancy in an attempt to present the many different emotive 'faces' of autoscopic phenomena. A full complement of analog and digital tools, including the famous Buchla modular system at Stockholm’s EMS studios, are brought into play in order to make this a thoroughly compelling listen. Ambience and anti-ambience symbolically vie for dominance throughout, in the same way as one might struggle to determine whether their ‚primary’ self or their autoscopic double is the 'real' source of their consciousness.
"La Production Interdite" is expertly mastered by Elevator Bath alumnus Alex Keller, and comes in a lush pro-printed cassette package with original collage artwork by TBWB in a limited edition of just 50 copies. A seven-page PDF text supplement is included with the download.
https://elevatorbath.bandcamp.com/album/la-production-interdite
|
2018 |
€10.00 |
|
| BAKER JA LEHTISALO |
Crocodile Tears |
CD |
https://aidanbakercollaborations.bandcamp.com/album/crocodile-tears
A collaborative album of new wave industrial doom songs by Nadja's Aidan Baker and Circle's Jussi Lehtisalo. Cover artwork by Alexa Reneé. Limited CD release by Ektro Records and Broken Spine Productions (BSP015/EKTRO-150).
www.ektrorecords.com
brokenspineprods.bandcamp.com
jussilehtisalo.bandcamp.com
www.aidanbkaer.org
Aidan Baker - guitar, bass, vocals, drum machines
Jussi Lehtisalo - guitar, bass, vocals, drum machines, keyboards
"Baker Ja Lehtisalo is a meeting of experimental rock musicians Aidan Baker (of Canadian drone metal duo Nadja) and Jussi Lehtisalo (of Finnish genre-blurring veterans Circle). Marrying Eighties influenced synth-pop and new wave with noisy, slowcore jams, it’s one of the most accessible things that either artist has ever made." [Norman Records]
https://ektrorecords.com/product/baker-ja-lehtisalo-crocodile-tears-cs/ =>
"A collaborative album of new wave industrial doom songs by Nadja’s Aidan Baker and Circle / Pharaoh Overlord’s Jussi Lehtisalo
Early in 2020 Lehtisalo and Baker began trading sounds over the internet—fragmentary keyboard licks and textural guitar riffs, retro electro-beats and pulsing bass lines—slowly constructing them into songs that combined a sort of ’80s New Wave/AOR aesthetic with a heavy/noisy/shoegaze/industrial sound. The end result was ‘Crocodile Tears’, five catchily anthemic songs channeling the perhaps unlikely pairing of Godflesh and Jan Hammer, electronic pop and pretty melodies mixed with textural guitars and heavy metal riffs.
Finnish multi-instrumentalist Jussi Lehtisalo is founder of the experimental rock band Circle, active since 1991. He also performs with Pharaoh Overlord, Steel Mammoth, and Aktor, to name some of his many projects, and has collaborated with Isis’ Aaron Turner as Split Cranium. He has been running Ektro Records since the mid-1990s and with Circle has released albums on such labels as Southern Lord, Riot Season, No Quarter, and Hydrahead Records.
Canadian multi-instrumentalist Aidan Baker performs solo and with various ensembles, most notably the ambient metal duo, Nadja. He has toured and performed around the world and released numerous albums on such labels as Alien8 Recordings, Important Records, Hydrahead Records, Karlrecords, and Southern Lord."
|
2022 |
€13.00 |
|
| BAKER, AIDAN |
Dualism |
do-CD |
After different collaborations between Aidan Baker and other musicians, we are finally presenting you the first solo release by Aidan Baker on Midira Records. We are very proud to bring you this little piece of art called “Dualism”.
The album starts like an untamed beast with dark drone and doom sounds and it morphs into a very gentle floating ambient body. Aidan plays guitar, bass and drums, what makes the tracks sound structured but also disengaged at the same time. The all-instrumental tracks have Nadja-like moments when the sound is darker and doomy and then they transform to beautiful melodies and rhythms. So you can hear the album moving from darkness to light, from heaviness to easiness and from interlaced to clear textured. Sometimes you feel like dancing, sometimes you feel like head-banging, sometimes you feel just relaxed and all sounds and moods fit perfectly together.
The album is based on the theory of dualism. A theory enfolding several books and explanation, including different meanings. That´s what Aidan Baker thought about the Dualism theory referring to this recording:
“Dualism in philosophy refers to the theory that the mind and body are different things and while the body is necessarily part of the physical world, the mind (and thoughts) may or may not be associated with a physical, concrete reality… and the notion of a ‘consciousness bridge’ is the way one might attempt to bridge the gap, so to speak, between body and mind.”
We thought that is a nice concept, but then something unforeseeable happened. The Dualism theory overgrew the whole release project. After we decided to press the music on CD, the master tapes got lost. We were talking about what we can do, because everything was set up to be released. So Aidan Baker decided to re-record the album. After he recorded the album, the original recordings showed up again by coincidence. So we had two Dualism albums sounding completely different, both worth to be released. We decided to release both sessions as Session A and B. A circumstance fitting perfectly into the dualism theory. Then we were waiting for the CD to be finalized with a matt finished artwork. The parcel arrived from the plant, but accidentally with glossy artwork. We started to believe that there is a hex of dualism covering this project. But finally, we finished the album with 2 CDs and a handsome matt lamination.
To perfect the album package, we added a letterpress inlay including a poem by Aidan Baker (from Passing Through) and an antithetic version of the cover artwork. Manufactured by Letterjazz with some very old letterpress machines.
Some more dualism trivia in this context: The alphabetic characters A and B of both sessions does not only fit to the artist name but also to the name of our contact person at the letter press studio. Dualism fortuity.
Dualism comes as a double CD album in an edition of 200 copies housed in a 6 panel digipack, including a letterpress inlay on 650 gram LeNaBoard (grey cardboard).
|
2016 |
€18.50 |
|
| |
An Instance of Rising / Liminoid |
CD |
A unique release of two contemporary classical works, written by Aidan Baker and performed live by orchestras in Poland and Latvia.
AN INSTANCE OF RISING w/ Spółdzielnia Muzyczna
The curator of Sacrum Profanum, Krzysztof Pietraszewski, a festival in Krakow, Poland, in 2017 invited several musicians involved in the 'avant rock' music scene to compose a piece for the Spółdzielnia Muzyczna Contemporary Ensemble, with the intention of bringing an experimental rock music aesthetic to a contemporary classical setting. An Instance of Rising, is a fully notated composition for flute, clarinets, saxophone, vibraphones, electric guitar, piano, and string quartet, using something of a serialist methodology to create a rising and falling tone piece or sonic landscape.
LIMINOID w/ Riga Sinfonietta
Liminoid was originally written for and performed at a concert with Tim Hecker and Pram at The Music Gallery in Toronto, Canada in 2008, the recording of which was released on Alien8 Recordings in 2010. The piece, lyrically based around a Coptic solar incantation, partially noted with a graphic score but allowing for improvisation, was intended to combine neo-classical with post-rock elements, using the elongation of sound and layered polyphony in an attempt to create a liminal or numinous state. In 2011, Miks Magone, the curator of Zemlika Festival in the small town of Durbe, Latvia, invited Aidan to perform the piece again with members of the Riga Sinfonietta and a rock band of local Latvian musicians assembled for the performance, The Burning Kulba.
PRESSING NOTES
300 - CD - Limited Edition. Housed in a recycled card sleeve with silk-screened artwork by Death Rattle Press. Hand-numbered. Instant download available + Bandcamp code inserted inside the sleeve.
https://aidanbaker.bandcamp.com/album/an-instance-of-rising-liminoid
|
2020 |
€13.00 |
|
| 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 |
|
| 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 |
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| BARDOSENETICCUBE & SHINKIRO |
Inner and Outer Space |
CD |
This is already the second collaboration album of Bardoseneticcube from Russia and Shinkiro from Japan, this time under their own names. The first disc "Four Noble Truths" was released under the combined title of Bashin on the French label Athanor in 2011 and was dedicated to the basic principles of Buddhist teachings. The meditative and contemplative subject continues here as well, now being focused on the aspects of inner and outer space.
We submerge in the dark thick matter of sound, fluid, transparent and stratiform. Woven from abstract electronics, omnifarious samples and transformed voices, textures are smoothly interchanging, always showing new visions in the black mirror of our viewport. Makes you wonder - does the perceivable exist separately from the percipient? In any case this is dark, nocturnal, cosmic music, not devoid of epicism and dramatism. Worth having in your playlist for the next space travel!
The disc is packed in a matte 4-panel cardboard digisleeve with artwork made by Vitaly Stromchinsky (X3D5, Eternal Return Records).
http://zhb.radionoise.ru/
|
2015 |
€12.00 |
|
| BASINSKI, WILLIAM |
Melancholia (opaque red orange vinyl) |
LP |
Opaque Red Orange Vinyl. Originally released a year after the increasingly iconic The Disintegration Loops, a decade later Melancholia still stands as William Basinski's second most beloved album.
Re-mastered from the original recordings and pressed onto audiophile-quality 100% pure virgin vinyl, this limited-edition vinyl reissue is packaged in a stunning gatefold jacket featuring all-new artwork. It is truly a sight and sound to behold. Like many of Basinski's most soul-stirring works, Melancholia began as a series of short tape loops captured in the early 1980s. Basinski then stored them away for decades, revisiting them at a different time in his life, at which point they took on a stunning new sound all their own - one that many consider to be among the finest of the past decade. "Melancholia is probably the best of Basinski's records until now, even if this is hard for me to say given my love for each one of his releases. This music is so beautifully delicate and sad in its auto-reflective moods, it stands right there with everything ranging from the usual suspects in the 'ambient' field, to a distorted damp ghost of Claude Debussy or Maurice Ravel put into a time machine." - Touching Extremes
https://williambasinski.bandcamp.com/album/melancholia
|
2023 |
€29.50 |
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| |
The Disintegration Loops IV |
CD |
"Teil IV der hypnotischen alten tape-loops, die in endlos-symphonischer Wiederholung wie nostalgische Erinnerungen an vergangene Zeiten wirken.. sehr ruhig & meditativ." [Drone Rec.]
“..And somehow, that personal grief comes through in these reworked 20 year old recordings. Basinski had discovered a handful of old tape loops that were oxidizing and essentially disintegrating, and transferred them digitally, capturing the strangely decaying melodies, making for an expansive suite (almost three hundred minutes) of haunting otherworldy looping drones. Muzak like melodies crumble into barely melodic throbbing pulses, swathed in reverb, allowing the already obscured snatches of music, to fade into wispy smears of sound. So beautiful.” [Aquarius Records]
"For those who missed out on the now-legendary, highly sought-after (and highly sold-out) box sets, we are now offering the four volumes of The Disintegration Loops suite as separate, individually packaged albums. The audio was remastered in 2012 from the original master tapes, and the artwork is packaged in deluxe old-style tip-on gatefold jackets. For a collection of music built around the poignant inevitability of decay, there has been a great many hopeful and inspired words devoted to William Basinski's The Disintegration Loops: stunning, ethereal, majestic, transfixing, life-affirming… and for good reason. From its 20-year gestation period to its infamously fateful completion, The Disintegration Loops is one of the most powerful manifestations of the inevitable cycle of life ever committed to tape, even as it documents the inevitable decay of all that is committed to tape. The very passage of time is its most effective instrument. Not only lauded by The New York Times, The Wall Street Journal, Pitchfork, NPR and dozens more, The Disintegration Loops have become considered by many to be “one of the most pre-eminent American artistic statements of the 21st Century.” [press release]
https://williambasinski.bandcamp.com/album/the-disintegration-loops-iv
|
2014 |
€15.00 |
|
| BASTARD NOISE / BIZARRE X |
Self Righteous Suicide / ...Ethik?... |
LP |
Back in 2011 Bastard Noise went on Tour in Europe and they played one day together
with Bizarre X and an idea for doing a split release grown up in their heads.
Finally, here we are with a 12“ split ep, cut on 45 rpm for a maximum of power and clearness.
Bastard Noise recorded 4 ultra sonic tracks with his unique voice full of anger and pain
compinated with his insect war electronics.
Bizarre X comes out with 11 tracks of pure rumpling drum and bass with vigorously vocals,
including one Fear of God cover.
Both sides were mastered by Mr. Rozon at Speed Semen Clove Factory!
Artwork and insert were done by FetusK!
This records sounds like you stand in front of the band with a diabolical PA soundsystem.
This 12“ is pressed on virgin vinyl with a pro done recordsjacket and 12“ sized insert.
Co-released with Regurgitated Semen Records, in an edition of 600 copies.
scrotumrecords.limitedrun.com/products/635151-bastard-noise-bizarre-x-split-12-e-p
|
2019 |
€15.00 |
|
| BATES, MARTYN |
Fireworks & Jewels / The Colour of Amber |
CD |
"Fireworks & Jewels is the 3rd solo album in as many years from Eyeless In Gaza’s Martyn Bates – being a collection of mostly voice/guitar pieces with a focus on the SONG – words and music stripped to core elements. Working with these elements, Elizabeth S. and Alan Trench introduce subtle colours to the body of these performances – with Trench adding particularly deft applications of electronics & tape treatments – creating a whole other supporting soundworld for the seeming fragility of Bates’ apparently often elusively private world of words & music. As Bates’ states, for him, the whole process of music-making is cathartic. On this occasion the resulting songs address some elusive and mercurial ideas and concepts. According to Bates: “ … I wanted to put across … the way that during heightened moments in everyday life – within those moments where there are “fireworks & jewels” as you might say – there’s always a spark or a thought there that flashes the colour amber – an elusive, tantalising light that you know is eternal, and forever, and yet … it’s somehow, always, always held out of reach … .” The appropriate watchwords here might well be, perhaps, Process & Effect, Illusion & Reality, or feasibly, in keeping with the album’s title, Shadow & Substance.
Fireworks & Jewels / The Colour of Amber was completed July 2015 and recorded at Bridge House Studios, on the Greek isle of Evia – the atmosphere of whose current social and political situation of doubt and uncertainty could perhaps be said to have had a noticeable influence upon the brooding & unsettled spirit at work throughout this album."
[label info]
www.eyelessingaza.com/mb.html#1
"Looking back to the year of twenty-fifteen, my audio intake was considerably pepped up by the appearance of the "Mythic Language"/"Egg Box Mask" triple c.d. set. So much so that this retrospective from British post punk/art pop duo Eyeless in Gaza was made number one with a bullet by yours truly on the Terrascope yearly poll.
So now, only a matter of months later, the Becker/Bates family tree (pictured as an ancient yew in an English country churchyard of course...), has sprouted an extra limb with the emergence of "Fireworks..."; Martyn Bates' sixteenth (!) solo outing (on almost as many labels, I might add). To discover that was certainly a surprise (thank you Discogs!), as I simply had no idea he was that prolific!
This beautifully artworked/six-panelled disc (his third in as many years...), finds Martyn joined by Alan Trench ('tronix/sundry percussives/field recordings/kitchen sink) and the mysteriously named banjo player and backing vocalist Elizabeth S. It's a baker's dozen of dream pop constructs in which a slight sense of unease might be detected which, according to the accompanying cribsheet, could be due to the fact that the recording took place on the Greek isle of Evia, during Greece's economic/political upheaval(s). Things mostly focus on Martyn's acoustic guitar work and vocalese and emphasise a concept of pure songcraft, where certain emotional states are laid bare for all to experience. Introspective soul transmissions, if you will, that come nuanced by a number of impressionistic backdops that thankfully, don't overpower the proceedings one jot. Whichever way you huffle the pack there's always seems to be something of genuine worth. Take for example an adaption of a Walter de la Mare poem "Embers, Starry Tapers"; a vision of otherworldliness, which largely comprises of solo vox humana and layered, lighter than air vocal atmospherics. Then there's the finger-cramping banjo exercises underpinning "Belong" and "The Fall", a personal favourite in which a rhythm bed of stately piano lines is deftly overturned by what appears to be a splurge of sustained feedback/sheet metal that has the signature of Master William Reid; late of the J.A.M.C. imprinted upon it. Excellent.
Copies are available through the Eyeless website (see above) and also through the auspices of Rough Trade, i-tunes (who they?) and Amazon. Order early to avoid disappointment... accept no imitations etc etc... "[Steve Pescott, Terrascope UK] |
2015 |
€13.00 |
|
| BC [BRIAN CONNIFFE] |
The Day and the Night of the Body |
CD |
New two track album from Ireland's Brian Conniffe, previously known for his work with Nurse With Wound and a MLP released on LTCo at the very end of 2013. One of these lengthy pieces features the late Simon Morris (Ceramic Hobs) providing spoken word he wrote exclusively for it. The CD also arrives in Dolorosa De la Cruz artwork and includes a 4pp. booklet.
Brian Conniffe is a cross-genre musician who has worked with a long list of collaborators covering a diverse stylistic range. Although perhaps most active as a member of a variety of synth-pop acts in his native Ireland, his most interesting work is that of far less conventional - deliberately uncommerical and even intentionally esoteric - experimental projects, characterised by a fusion of the darkest psychedelia with disquieting ambience. The most noteworthy of these possibly being the limited edition collaboration of Nurse With Wound’s 'Musique Pour Faits Divers' (2016).
This album was recorded from 2007 to 2009, and consists of two expansive pieces, which - as the title suggests - are characterised respectively by bright and nocturnal atmospheres, and retain an intense physicality undiminished by the occasionally abstract nature of the wide-ranging sound pallet utilised. The first piece is symphonic tapestry of colourful noise and alien-sounding drones, constantly shifting and avoiding monotony, reminiscent in places of the work of Labradford, The Hafler Trio, John Duncan, and Aube at their best. The second piece is altogether darker and more defiant of description and comparison, based around a long text written and spoken by the late Simon Morris (author and frontman of the Ceramic Hobs), which moves from its surreal yet possibly familiar beginning into an astonishingly breathless and tumultuous confessional, a true voice of the lost. The disquieting use of samples provided by Morris provides an intense sense of the uncanny.
Brian Conniffe says of the album's collaboration, "I got into contact with Simon Morris through collecting the most obscure music from the fringes of industrial music. We quickly developed a regular correspondence, exchanging cassettes, CDs and records of rare music, eventually meeting in person. He was a naturally entertaining writer, as the readers of his books will know. These and the very strange music his band produced also offered an often astonishing and sometimes shocking insight into the life of the mental health service user: a perspective which, combined with that of this highly active participant in the most extreme forms of underground music, to create a truly unique voice.
"At the time this album was recorded, I spent almost all of whatever free time I had creating very experimental and mostly improvised music, working with anyone around me who would participate. There was essentially no commercial aspect to what was being created, I was simply making music for myself, that I personally wanted to hear. At one point, Simon recorded his spoken vocals for me, and contributed them along with a handful of mysterious samples. And so, this album was created. It remained unreleased as shortly after its recording, I began to work with bands who were producing more conventional music, who were very active live and had established audiences in my native Ireland. Now, for a number of reasons, it feels like the right time for this to be heard."
https://fourthdimensionrecords.bigcartel.com/product/bc-featuring-simon-morris-the-day-and-the-night-of-the-body-cd-lumberton-trading-company |
2020 |
€13.00 |
|
| BEARS |
I was a good Hunter until that Day |
MC |
"The new noise/ambient/field recording/drone and electro-acoustic tape-label "Voluntary Whores" presents its first C60-cassette "bears." coming in a heavy limitation of 40 copies. The artwork consists of a big sized photo, a big inlay card and a "surprisingly authentic gimmick".
No re-release ever! The journey leads us to a strange place where a legend about missing adventurers reveals traces of aggressive bears, not from this world. A tape full of Heavy noise, strange conversations, live footage, deep drones and soundtrack-ish ambient for dark nights and bad dreams." [label info]
|
2012 |
€8.00 |
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| BECUZZI, GIANLUCA |
(B)Haunted |
CD |
"Following his collaborations with Fabio Orsi and Luigi Turra published in 2012-2013, it’s time for another Gianluca Becuzzi solo album on Silentes. This electronic / electro-acoustic composer and sound-artist boast an enviable curriculum: active since the first half of the ‘80s as 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 other recent artistic production - in addition to what he has published under his own name - we should at least remember his projects Kinetix, Noise Trade Company and Grey History, and his many collaborations in duo with the already mentioned Fabio Orsi. “(B)Haunted” collects materials recorded in 2010-2011 that were previously released on cassette/CD-R in two extremely limited editions, entitled “Haunted” and “B”, respectively by Cérebro Morto in Portugal and Silentes Tapestry in Italy. Although composed for two different projects, the eight numbers on the album show some cohesiveness as the listener is treated with a tracklist that cleverly interchanges the tracks from both of them instead than offering the two complete works separately. Most of the music on “(B)Haunted” has an Industrial feel and seems to originate from live sessions that were enriched with electronic sounds and treatments at a later date. During the listening we confront ourselves with various sounds of a metallic nature and indistinct percussions, found sounds and gear, mechanisms and bells, scraped material and drones. Everything contributes to the creation of a soundscape that is always fascinating and arouse a lot of curiosity and attention on the evolution and direction that the music will take. Coming in a beautiful black’n’white artwork that aptly describes the industriousness of the author and the continuous musical metamorphosis herein contained, this is a very interesting album that will please fans of the old Industrial school and those devoted to sound-art and experimentation." [label info]
www.silentes.net
"Of an entirely different nature is the release by Gianluca Becuzzi, which is surely longer, seventy-three minutes and basically a re-issue of a 'Haunted', a cassette/CD on Cerebro Morto and 'B', a cassette on Silentes Tapestry. The latter was reviewed in Vital Weekly 789: "Gianluca Becuzzi has had various releases of his own and usually in a more ambient/drone/microsound field. Its good to see him move away from that, with a somewhat more experimental release. Lots of this seems to be revolving around elements from the world of percussion on steel, which reminded me of some of Z'EVs earlier records, in which he used both studio techniques and percussion. This too is a somewhat more noise based release, or at least less ambient and more experimental, but Becuzzi knows how to capture both a fine mood as well as some captivating sounds, and mould that into a fine composition." The four pieces from 'Haunted' are tracks 1, 3, 6 and 8, whereas 'B' is 2, 4, 5 and 7, which I thought was a
bit odd (but it has to do with the times of these pieces, which now act as a mirror to each other). Not that this 'wrong' sequence messes up the release, perhaps it even makes it more varied. 'Haunted', which I didn't hear before, also seems to be using an amount of steel percussion/plates as well as electronics of some kind. It's all sturdy experimental music here, serious, dark, moody, and even noisy at times, but it's never over the top loud and abstract. Maybe a bit long but as far as I can judge these two older releases certainly belong together and as such work very well on one CD." [FdW / Vital WEekly] |
2014 |
€12.00 |
|
|
We can be Everywhere |
do-CD |
Originally recorded between 2012 and 2013, and released on Final Muzik as a limited edition CDr, “We Can Be Everywhere” is still one of the best albums ever released by Italian music composer Gianluca Becuzzi.
The original release includes three solo tracks plus three collaborative ones: two pieces each with Raimondo Gaviano (Svart 1), Lino Monaco and Nicola Buono from Italian electronic music explorers Retina.it and two amazing tracks with Italian sound sculptor (and Final Muzik member) Deison.
The album presents obscure and thrilling atmospheres, unexpected dark structures and out-of-this-world modern electronic music’s soundscapes.
To do even more justice to this album, Final Muzik and Gianluca Becuzzi have opted for a double CD reissue, including the original release plus a new CD, composed, produced and mastered by Gianluca Becuzzi between 2022 and 2023, that includes a new version of “We Can Be Everywhere”.
Obviously inspired by the original, of which it only keeps few samples (mainly vocals) it develops the new sound-path taken by the artist. The new “We Can Be Everywhere” is structured around four lengthy tracks based on mesmerizing distorted guitar sounds, concrete music noises and raw rhythm programming from “far away”. The result is a new masterpiece of wrapping, gloomy doom/drone soundscapes.
Images: Diego Spinelli. Artwork by Deison.
Limited edition of 200 copies only.
Track 01-09 From "We Can Be Everywhere"
Produced And Mastered By Gianluca Becuzzi At Kinetixlab [2012-2013] Composed By:
Tracks 01, 02: Gianluca Becuzzi And Raimondo Gaviano [svart1]
Tracks 03, 05, 07: Gianluca Becuzzi
Tracks 04, 06: Gianluca Becuzzi, Lino Monaco And Nicola Buono [retina It] Tracks 08, 09: Gianluca Becuzzi And Cristiano Deison [deison]
Tracks 10-13
Produced And Mastered By Gianluca Becuzzi At Kinetixlab [2022-2023] Composed By: Gianluca Becuzzi
https://finalmuzik.bandcamp.com/album/we-can-be-everywhere-2014-2023
Seit den frühen 80ern ist der aus der Toskana stammende Gianluca Becuzzi ein musikalischer Workaholic, und vielen hierzulande ist er vermutlich am ehesten durch sein frühes New Wave- und Postpunk-Projekt Limbo bekannt, mit dem er bis ins neue Jahrtausend hinein zahlreiche Alben herausbrachte. Die Zeit um die Jahrtausendwende markierte auch eine Schwerpunktverschiebung von den zwar bisweilen experimentell eingefärbten, aber vom Hauptfokus her dennoch eher songorientierten Arbeiten hin zu abstrakteren Klangwelten, die er mit Projekten wie Kinetix, seinen Arbeiten mit dem Dröhner Fabio Orsi und nicht zuletzt auch solo herausbrachte. “We Can Be Everywhere”, das vor zehn Jahren bei Final Muzik auf CDr erschienen ist, stellte damals eine besondere Wegmarke im Rahmen seiner Soloarbeiten dar, wobei solo in dem Fall nicht heißt, dass Becuzzi das Album im Alleingang produziert hätte. Drei besondere Acts unterstützten ihn dabei in den meisten der Aufnahmen. Das eröffnende “From this Poem of Void” entstand in Zusammenarbeit mit Raimondo Gaviano alias Swart1. Hier brechen in unregelmäßigen Abständen prasselnde Noise-Kaskaden in eine Welt der Stille und scheinen andere kleinteilige Geräusche zum lauter werden zu ermutigen. Erst nach einiger Zeit wird das Ganze durch ein hintergründiges Brummen eingehegt, dennoch ist der Track atmosphärisch eher Doom-Industrial als Ambient. Einige der Klänge hier sind so gut versteckt, dass man sie leicht überhören könnte, so die hechelnden Frauenstimmen, die sich – wenn sie denn keine Fata Morgana sind – ganz tief unter der Oberfläche abhetzen. Der gleichen Zusammenarbeit entstammt “The Screaming Torso”, das gleich mit einer infernalischen Feedback-Lawine beginnt. Gefühlt hundert Details fliegen so schnell durch den Raum, dass das Resultat schon wie ein homogener Fluss wirkt, wenn man nicht innerlich das Tempo herunterschraubt – bis raues Kratzen die Illusion durchbricht. Nach einer kurzen, aber intensiven Klangwelt voll frunkensprühender Glöckchen führt die Reise durch zwei beklemmende Tracks, die zusammen mit dem neapolitanischen Duo Retina.it entstanden sind. Stetig pulsierendes Pauken, das sich zunächst im Hintergrund hält und dann von einer wuchtigen Dröhnwelle nach vorne gedrückt wird, darüber Stimmen, vermutlich von einer Lautsprecherdurchsage, abstrakte Sound-Mixturen, aus denen immer wieder Glocken an die Oberfläche dringen, dunkles Gemurmel, zirpende Insekten: Alles wird dichter mit der Zeit und offenbart eine große Vielschichtigkeit, und am Ende kulminiert alles in einer prasselnden Lärmsalve. Nach einem weiteren solo eingespielten Interludium beginnt der zusammen mit dem Klangkünstler Deison produzierte Schlussteil, der das experimentierfreudigste Material des Albums bereithält: Das Stück “Headless shadows” beginnt mit zum Teil rückwärts eingespieltem Material, das aber nur notdürftig die hypnotische Perkussion und die verquere Melodik dahinter verdeckt. Das lange “All the ghosts of my life” schließt das ursprüngliche Album noch um einiges subtiler ab, denn hier meint man eine nur leicht elektrifizierte Naturszenerie mit heranbrandendem Wasser und Vogelstimmen zu hören. Doch irgendwann bricht auch hier noch einmal die Dunkelheit in Form schriller Hochtöner, dunklem Grollen und mysteriösem metallenden Hantieren ein. Was passiert hier? Lässt hier jemand ein Geisterschiff vom Anker gehen?
Als Überraschung hat sich Becuzzi das mittlerweile fast ein Jahrzehnt alte Material erneut vorgenommen und ausgehend von einigen Samples daraus im Alleingang vier eigenständige Kompositionen gebaut, die vier Tracks mit den Titeln “We”, “Can”, “Be” und “Everywhere” umfasst. Doch was sich zum Auftakt noch wie ein Rework anmuten mag, entpuppt sich als eine weitgehend eingeständiges Bonusalbum, das mit dem ursprünglichen Longplayer nur durch Referenzen verbunden ist. Das Erkennungszeichen dieser Kompositionen ist ihr schleppender und bleischwerer Doomcharakter, dessen Infernalik nicht nur sägenden Gitarrenwänden, höllischen Twangs, wahrwitzigem Gemurmel und schleppenden Takten zu verdanken ist, sondern auch knarrenden Türen, krächzenden Flüstervocals, einzelnen Freekout-Ansätzen, trügerischen Glöckchen, gezielt eingesetzten lichten Momenten und einigem mehr. Becuzzis Repertoir ist offenkundig breit gefächert.
Die Reissue erschien bereits vor einem Dreivierteljahr und einigen der CDs sind noch erhältlich. Selbstredend empfehlen wir sie. (U.S.) AFRICAN PAPER |
2023 |
€15.00 |
|
| |
Black Mantra |
do-CD |
Kali, "The Black-One", is the Hindu goddess of death, time, supreme power, destruction and change. She is dark and heartless, the anti-mother with a bloodied face. She is "The One Who Dances", leading the world towards dissolution, end and rebirth. The origins of the Thug clan, stranglers known for their ritual murders, are linked to this karmic cycle. Since the last century, her mysterious charm has inspired literature and cinema, making her a popular figure also in the Western world. Just as, more generally, Indian mysticism and its traditional music, based on the sound continuum, is origin and source of inspiration for all Drone Music and for musical avant-gardes linked to it.
Gianluca Becuzzi [June 2023]
All tracks composed and produced by Gianluca Becuzzi [2023]
Gianluca Becuzzi [on CD01 and CD02]: electric baritone guitar, alluminium neck guitar, alluminium neck bass VI, sampling, programming
Antonio Tonietti [on CD02]: indian harmonium, modified acoustic guitar, bouzitar
Images by Stefano Gentile
Artwork by Deison
Silentes / St.An.Da. 2023
https://gianlucabecuzzi.bandcamp.com/album/black-mantra
"One of my top finds of the last several years is Gianluca Becuzzi. This prolific Italian experimentalist is known for his atmospheric music that often fuses together influences from different genres. Black Mantra is his second release of 2023 and a high point in his discography.
The stylistic hybridization here is that of Indian classical music and chant with drone metal. Think of it as a captivating combination of Dead Can Dance with Sunn O))). Conceptually, the music as a whole is based on Becuzzi’s fascination with Kali, the Hindu goddess of death. As such, it exhibits appropriately dark tones.
While a long 2CD release, Black Mantra is exemplified by two tracks that appear early on the album.
The Hidden Temple kicks off the album with a gong and acoustic strings before Becuzzi drops slow-moving and massive guitar riffs that are held into feedback. He employs baritone and aluminum-neck guitars as well as the bass VI to emphasize the low notes and sustain. Atop this, he layers repeating mantra-like chants. As Becuzzi is also credited with samples and programming, it is unclear how much of the non-guitar source material was recorded specifically for this track. But it ultimately does not matter due to his artful amalgamations.
In contrast, Devotional Prayers is centered around drum beats accentuated by bells. Becuzzi adds a bass line and chants that resemble uttered incantations. He uses distorted guitar chords to fill space between cycles of the chanting, as well as to provide thick melodies for the latter half of the track. While each contributing line is relatively simple, again it is the combination of these elements that makes the overall piece engaging." [Avant Music News]
|
2023 |
€16.00 |
|
| BEEQUEEN |
Music for the head ballet |
CD |
Wiederveröffentlichung dieser vergriffenen BEE QUEEN CD von 1996, die vier sehr ruhig schwingende Drones enthält.. (ein zuvor nicht enthaltener Bonustrack!)
" Die Musik greift in das Environment ein, formt es um und verändert die Sichtweise des Hörers auf so subtile Weise, daß die Veränderungen erst Stunden später erkennbar werden." [Zipo, Auf Abwegen # 20]. Die neue BEE QUEEN - CD ist im Gegensatz zum Vorgänger wesentlich ruhiger, meditativer und monotoner und enthält 3 lange Atmo-Tracks. Sehr schön!“ [Drone Records info 1997]
„Always a lonesome recording with it's distant organ drones quietly amassed, Music for the Head Ballet was first bestowed upon us in 1996. The now defunct Isomorphic records had the privilege of issuing these 3 pieces of lulling resonating ambience. Music for the Head Ballet has had an elusive history. There is little information about the music listed anywhere. The reviews are scarce, and those few that do make a mention are consistent in their praise of this alluring work. The original 936 numbered copies seem to be carefully tucked away on coveted shelves as it is rarely seen making an appearance in any market platform. Even the names of the tracks support it's ambiguous nature ("Days that never were", "White feathers on a dish,used to erect the pyramids" and "These foolish things"). Now after so many years of myth making, this gorgeous work has been made available again by Infraction. This reissue features new artwork as well as a previously unreleased 13 minute additional track from the original sessions. It is quite possibly the most blissful track Beequeen have committed to disc. Buy it now and hold your peace forever. Edition of 500.” [label info]
|
2004 |
€13.00 |
|
| 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 |
|
| BERNIER, NICOLAS |
Usure.Paysage |
LP |
"usure.paysage combines the strongest particles of Bernier's kaleidoscopic oeuvre: an expressive mix of lively field recordings, tiny and massive electronics and sparkling relocations. The docker barks out aloud, the little insect crawls through the 19th century woodworker's atelier, forgotten voices vanish and the rest is no silence. This is truly some of the finest musique concrète ever released on vinyl - very charming.
Nicolas Bernier: electroacoustic artist, surround sound composer, occasional curator, old typewriter aficionado and sandcastle manufacturer. Careless about aesthetic tags, Bernier navigates through live electronics, installations, musique concrète, art video, performance, music for dance, theatre and cinema. In the midst of this eclecticism, his artistic concerns remain constant: the balance between the cerebral and the sensual, and between organic sound sources and digital processing. He is the founder of the sound art microorganism Ekumen, member of the media art organization Perte de Signal and the art director of Réseaux, a major Canadian electroacoustic concert producer. His works have been awarded or broadcast in festivals around the world including ZKM, Transmediale, Prix Ars Electronica, Akousma, Mutek and DotMov.
Artwork by urban9
Mastered & cut at D+M Berlin
Vinyl only, 300 copies
http://www.nicolasbernier.com" [label info]
www.hronir.de
|
2011 |
€16.50 |
|
| BESTIA CENTAURI |
Teratogenesis |
CD |
oversized digipack
Bedrohlich klaustrophobische Welten beschwört "Teratogenesis" herauf, einengend nah und intensiv scheinen elektronische Drones & Sounds wie Waffen anzugreifen, wie eine Psycho-Geisterbahn der völlig derangierten, morphenden Art... kein typischer dark ambient, eher düster-industrielle Elektro-Akustik !
"Bestia Centauri is a solo electronic music project begun in 1999. "Teratogenesis" is its fourth release after "Ubbo-Sathla" (Somnambulant Corpse Recordings, 2002), "The Antideluvian Earth" (Afe, 2003) and "The Self Immolation Rite" (Somnambulant Corpse Recordings, 2004).
The aim of Bestia Centauri is to create sonic landscapes that convey a sense of the numinous, the horrific, and the extra-human. Its sounds have much in common with those of electroacoustic music, but the compositional structures generally display a much greater sense of flow. Although Bestia Centauri's music is (to put it mildly) very different, the early releases of Tangerine Dream (circa 1972-1975) remain a tremendous source of inspiration for the composer, along with the orchestral, choral, and organ works of the composers Gyorgy Ligeti (Atmospheres; Lux Aeterna; Lontano) and Giacinto Scelsi.
Older works of electroacoustic or tape music, such as the compositions of Basil Kirchin, Tod Dockstader, and Iannis Xenakis, offer the listener another frame of reference. With the new release, "Teratogenesis", Bestia Centauri defies once and for all the persistent mischaracterizations of its sound as belonging to the "Dark Ambient ghetto". Electroacoustic and computer music elements come brazenly to the foreground, and contribute even more so to the flow of "crawling chaos" that has always characterized and inspired Bestia Centauri’s compositions. The genesis and development of a monstrosity is the theme of this new work, which charts a course from mutated unicellular sonic DNA to the resultant life-form that reaches "from the jaws of the dragon, from the depths of the abyss". With "X" and its deranged rhythmic outbursts, which suggest a creation gone radically wrong, with "Nebular Embryo", a microtonal and minimalist homage to the work of Giacinto Scelsi, and with "E Faucibus Draconis, E Profundis Barathri", a pure electroacoustic work of epic scope, Bestia Centauri demonstrates a new-found range and mastery in its work.
Four years in the making, "Teratogenesis" represents Bestia Centauri's most mature mating to date of flowing soundscapes and electroacoustic sound design. It also represents a point of departure for even more radical works, to come.
This albums comes as an Eibon Records / Afe co-production whose artwork was designed by Chris Donovan of Somnambulant." [label description]
www.eibonrecords.com / www.aferecords.com
|
2007 |
€13.00 |
|
| BIANCHI, MAURIZIO & RYAN MARTIN |
As strong as Death is |
do-LP |
Backwards is very happy to announce the Maurizio Bianchi & Ryan Martin "As Strong As Death Is" double vinyl LP.
For roughly the past 40 years, the cryptic tally of works by Maurizio Bianchi has formulated a somewhat religious rite of passage, a communion of tone and definition based around his various devotional phases in his life. Coming to the forefront of industrial music and noise composition in the late 1970’s, just as the world was recovering from the jarring wake left behind by groups such as Throbbing Gristle and Whitehouse, Bianchi was bundled within the zeitgeist of extreme experimentation due to the use of provocative subject matter and sonic assault. Though by 1983, Maurizio Bianchi seemed to have “disappeared” after conflicting releases and disappointing acceptance amongst his peers. It was not until the mid-90’s when Maurizio Bianchi resurfaced, now with a focus on spiritual guidance and restraint, that he released varied recordings of his newly sculpted ambient works and re-visitations of his now classic albums from the previous decade. Up until present day, Bianchi has enjoyed a renaissance of interest in part due to his expansive reissues of previous works and his dedication to new recordings, which state that Bianchi is still a zenith in the world of the experimental electronic music.
Around 2008, New York City based artist / musician Ryan Martin, of industrial outfit York Factory Complaint and Copley Medal, started correspondence with Bianchi about the reissue of his mechanically clinical ambient masterpiece, Endometrio, for release on Martin’s co-founded imprint, Dais Records. During this time, Martin was forming his own solo label to release private edition works under the title Robert & Leopold and asked Bianchi to present his recent exploratory violin compositions as the label’s debut release. Since that time, Bianchi and Martin have collaborated in various forms including the release of Bianchi’s recent exploration, Arkeomene, and the featuring of Martin’s artwork on the cover of Bianchi’s contentious single, Amentest. Most notably however was the complex and deliberate musical collaboration between the two entitled “As Strong As Death Is”.
Spanning the course of two years to create, legendary Italian noise composer Maurizio Bianchi and artist Ryan Martin (York Factory Complaint / Copley Medal / Dais Records) took on the pilgrimage of scoring the abstract concept of marriage based on the biblical Song of Solomon. Employing prepared electronics with accompanying strings and tape, this ambient religious collaboration seeks to flesh out the union, to understand the universal desire to be one. Constricted lullabies walk down the aisle to create a consortium of moving, ghost-like consolidation. Mixed ad edited by Anthony Mangicapra (Hoor-paar-Kraat) and mastered by Kris Lapke (Alberich / Hospital Productions). Recorded in both New York City and Opera, Italy between 2010 and 2012, this release was originally released in 2013 as a limited double cassette on Martin's own Robert & Leopold imprint in a edition of 100 copies, which quickly went out of print.
The release comes with a lavish jacket, in two editions: ltd.100 copies on white vinyl and ltd.400 copies on standard black vinyl.
Comes with a coupon for a free digital download.
www.backwards.it
|
2016 |
€20.00 |
|
| BIANCHI, MAURIZIO (M.B.) |
Dead Colours |
CD |
Amazing & rather peaceful synth-based work about colours which was created between 1997 and 1999. 10 pieces, over 70 minutes of music.
"This is the reissue of a CDR published by SILENTES a couple of years ago in only 120 copies. Now finally available on CD with restored artwork. DEAD COLOURS shows the more quite side of MB... with an incredible dark melancholic tough in vein of David Lynch's atmospheres... Fantastic!" [label notes]
www.silentes.net |
2008 |
€12.00 |
|
| |
S.F.A.G. 81 |
LP |
"MAURIZIO BIANCHI’s 1981 Symphony for a Genocide LP is the artist's most well known work, widely recognized as a classic of early industrial music. A year and a half after its initial release on vinyl in a limited edition of 227 copies, the album was reissued on cassette by the Broken Flag label. It was at this time that Bianchi created an entirely new recording drawn from the audio of the original LP. Entitled S.F.A.G. 81 and issued in January 1983 as a companion to the Symphony for a Genocide cassette release, it was a radically different work comprised solely of two extended, side-long tracks. Bianchi had already began to evolve from the harsh and primitive attack of his earliest releases toward a more desolate, introspective sound exemplified by The Plain Truth and Armaghedon albums; S.F.A.G. 81 lands somewhere in between these two approaches. Remnants of the relentless mechanical rhythms and synthesizer churn of the original Symphony remain, but it is as though one were listening to them from a distance, lost in the midst of a massive blizzard. Strains of recognizable sound drift in and out of earshot like hallucinations, echoing across the bleak stretches of grayed-out sound. The S.F.A.G. 81 recording has been re-released (often in abridged form) on cassette and CD several times over the years, and an except appeared on one LP side of Vinyl On Demand's massive five-disc Broken Flag retrospective box set; this reissue marks the first time ever the complete album has been available on vinyl. Remastered and fully authorized, it comes packaged in thick tip-on jackets with artwork by longtime Bianchi collaborator SIEGMAR FRICKE. One-time pressing of 500 copies." [label info] |
2014 |
€16.50 |
|
| BIG CITY ORCHESTRA |
Drone Gnomes (SOLD OUT) |
10inch |
Komplett "handgespielte" akustische Trance-Musik von San Francisco's weirden Drone-Magiern; mit allerlei "echten" Instrumenten improvisiert klingt das wie "wyrd folk" im Sufi-Drone-Kontext....fünfter Teil in unserer neuen 10"-Reihe, die neue Hör-Neuronen im Nichts schafft, hellblaues Vinyl, Spitzenartwork von MIKE DRINGENBERG.
"...Als ob das gestaltwandlerische, aber doppel-x-chromosomenstarke BCO und seine ungooglebare Konstante namens Das bewusst ihre sarkastische und parodistische Neigung gebremst hätten, um dem Substantia Innominata-Konzept mit zwei Arc of Infinity-Trips Referenz zu erweisen, einer pulsminimalistischen rituellen Session mit
accelerierender Percussion und Engelsingsang und einem dröhnminimalistischen Tauchgang in die Grey Matter selbst." [Rigobert Dittmann, Bad Alchemy]
Acoustic trance by San Francisco's great masters of obscure atmospheric noises... artwork by well-known illustrator Mike Dringenberg !!! Light blue colour vinyl with special marmor-effect, 4-colour covers & labels ! 5th part in the new 10"series by Drone Records ... lim. 500. sealed copies.
|
2006 |
€12.00 |
|
| |
Kapellmeister |
CD-R |
HalTapes presents
BIG CITY ORCHESTRA
KAPELLMEISTER
oneiric collage confusion with keyboardisms infiltrated with radio hum and vinyl itch
original cover art by Rafael González
BCO STAFF WAS:
ROB WORTMAN, UNIVAC, NINAH PIXIE, CHERYL LEONARD, DAS
BCO contact:
das at ubuibi dot org
credits
released 20 May 2015
https://halmcgee.bandcamp.com/album/kapellmeister
"Big City Orchestra is a prolific (over 160 releases since 1985) group many would likely recognize as part of the 80s experimental cassette scene. From various readings and conversations with older friends, I gather they were enjoyed as a favorite by many. I get the impression that they have many tricks in their bag, and that is what makes them so impressive and special.
Please enjoy Big City Orchestra’s Discogs bio:
“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. An album of authentic sea-shanties? A wall of noise? A shimmering downpour of lullabies whispered to the wind? A humorous or thought-provoking album of Sound Collages? Vocal excursions set to make Rod McKuen blush? We press play, leaning forward with slight apprehension. We await the first wave of blissful deception. We are perpetually rewarded.”
This CDR was released by Hal McGee, who was involved in distributing & releasing their music in the early / mid 80s. I assume this release results in part from that years-old positive connection.
Hal(“Ear Tampons” – poignantly preposterous?)
My first exposure, of two total exposures, to Big City Orchestra was a CDR called Beatlerape, consisting of a bizarre collection of alternate takes on and / or cut-up-collagery of Beatles songs and recordings. I don’t know if it’s ‘rape’, but what they do to Beatles music on this album is quacked out and could by many be called “wrong”. Demented looping, demented voices, demented juxtapositions of sounds. I very much enjoyed it off and on for several months in the car’s cd player. I know I’ve heard another Big City Orchestra recording, but I don’t recall which one. This matters because I remember thinking the second Big City Orchestra album I heard was pointedly different from Beatlerape, as is the present specimen, Kapellmeister.
Kapellmeister is a great mixed bag of lo-fi collage, psych, plunder, field recordings, found recordings, electronic junk bits, eclectic instrumentation / approach -but cleanly sectioned into the 10 segments they list on Side A and Side B. Track 8, “OOOOH JACK”, is a cutup of cleanly recorded, quietly speaking christian television preachers set against an ominous early-80s-industrial-mechanical-plodding backdrop. The clips of christian people are cut and assembled in such a way as to slather, playfully and mockingly, the christians’ pretensions of purity with humorous sexual innuendo. It’s simultaneously hilarious and darkly hope-crushing? This piece is on par with all of the other pieces for level of interest, pacing, composition, content, etc. Every track has its own intriguing qualities. Wonderfully surreal yet entertaining and non-tedious. Simple yet engaging and surprising. These things are hard to do with abstract sound work. I dare call it sophisticated, prodigious, genuine. The rawness of the black & white artwork is pleasant, with strangely bleak torn paper collage and digitally manipulated images by Rafael Gonzalez. There’s a cerebral surreality to the haloed white blob (photoshop air brushing likely) over the faces of an idealized couple from the..1930s? This roughness is tied together nicely with the text and with the two pillars of the repeated collage item showing two half-faces close together, reflecting their similarities and differences. These considerations tie the cover together with symmetry and an even distribution of dark and light. In comparison to a number of Hal’s other releases, this HalTapes specimen nicely balances pragmatic non-aestheticism and a tight sense of design. I enjoy the non-aesthetically charged design of the information side of the slim jewel case’s insert.
In his description for his album B12, Hal McGee -designer of this disc’s insert- tells a story about packaging design for audio recordings:
“After my three year hiatus from recording (92-95) I noticed that a lot of noise artists were doing special deluxe package releases. It seemed like every fuckin’ release by Aube had like a dead fish attached to it or a pubic hair or a bag of sewage water or some such shit with deluxe printed sleeve, etc etc etc. I purposely made the cover of my “B12” cassette as shitty and amateurish-looking as possible and I fit four of them onto one sheet of paper so that at Kinko’s each cover would end up costing me like 2.5 cents.
HalB12
I sent a copy of “B12” to Aube as a trade and told him here is my “anti-deluxe two and a half cent cover”. He was not amused and told me he would not trade with me again. This is the same young upstart who had told me previously that I had been one of his influences from the 1980s. Hahahaha. Uppity bastard!”
I presume to an extent Hal’s current design tendencies align with the thinking embodied in this frank, funny outburst. The emphasis is on what you’re doing and less on the capturing or distillation of some grand wizardly vision into an even more grand wizardly package that sells at inflated prices. This is the dichotomy of process vs. product, or maybe something less clear cut than that. I greatly enjoy both approaches (super-art-packaging and more straight forward packaging) depending on the specific example. It’s unfortunate, but for now I’m dreaming of a future time when I can support more artists putting out special deluxe products. I’m not able to spend so much money any more on music, so I don’t often acquire music releases with special (expensive) packages. Right now I can only get the occasional regular old ordinary issue releases; no fancy boxes, no extra inserts, no 3-D glasses, no diesel-soaked papyrus, no vials of blood, no hand-made folded special-stock paper delicacies. Many DIY artists and label-people have simple aesthetics based around their financial limitations; a lower budget usually costs a bit in impressiveness of appearance, but the money saved by simplifying package design can be used to release music more frequently, or for other projects. I have an interest in understanding different approaches to creative work. As long as the work comes from a genuine and specific place I’ll probably find it at least worth examining.
This CDR/tape/download is a truly excellent recording demonstrating all sorts of creative and technical prowess. That being said, it’s also presented in a remarkably unpretentious way. It’s adventurous and consistently engaging, while still being quite abstract and not the least bit catchy, unless you find certain tonal drones catchy. I rarely put in a recording and find it so impressive on a first listen. When this happens, the recording’s charm usually grows over time rather than fading." [Petriblog]
|
2015 |
€8.50 |
|
| BIOSPHERE |
Substrata |
do-LP |
"One of the all-time classic ambient albums finally available on strictly limited edition 180 gram vinyl. The vinyl edition of Substrata is released by Geir Jenssen's own label, Biophon. It comes as a double gatefold album featuring the bonus track "Laika" (14:35). Biosphere is widely-regarded as one of the legendary names in ambient/electronic music. Residing in Norway, near the Arctic Circle, he has found the focus to slowly and steadily create a self-contained aural universe, made up of reflective and immersive sound sculptures. For almost 15 years, he has released a string of critically-acclaimed albums. 1997's Substrata, which marked Jenssen's embarkation towards an intensely minimal style, is not only often considered to be Jenssen's best work to date, but is also seen as one of the all-time classic ambient albums. Re-mastered by Stefan Betke @ Scape Mastering, Berlin. New artwork by David Coppenhall." [label info]
www.biosphere.no
|
2011 |
€33.50 |
|
| |
Microgravity |
do-CD |
"A remastered version of Biosphere's debut album Microgravity on double CD with a bonus album of previously unreleased tracks. From Wikipedia: "Geir Jenssen began releasing his music as Biosphere on obscure Norwegian compilation albums. His first Biosphere releases were the 12-inch single The Fairy Tale and the album Microgravity, both of which were rejected by SSR as unmarketable. Microgravity was released in 1991 on the Norwegian label Origo Sound, and saw wider release via the R&S Records subsidiary Apollo in 1992, to much critical acclaim." All tracks written and produced by Geir Jenssen. All tracks on CD2 and sides E-F are previously unreleased. Recorded in Skippergata 42, Tromsø, Norway, between 1990 and 1991. Mastered by Stefan Betke. Artwork by Philip Marshall." [label info]
|
2015 |
€25.50 |
|
| BIRDS OF PASSAGE & LEONARDO ROSADO |
Dear and Unfamiliar |
LP |
"180gr Vinyl im Gatefold Sleeve auf 300 Stück limitiert. CD im Digipak. Ein minimalistisch-cinematischer Trip in den Bauch des experimentallen Dark Pop.
Nach dem von allen Seiten gelobten Debüt "Without The World" und ihrer ersten Europa Tour 2011 kehrt BIRDS OF PASSAGE ("der neue Stern am Himmel des Dark Pop") aus Neuseeland nun mit dem zweiten Akt zurück.
"Dear And Unfamiliar" ist ein cinematisches Konzeptalbum, das sie zusammen mit Leonardo Rosardo aus Portugal erschaffen hat.
Das Album ist ein vollfarbiger Soundtrack, der einen lebendigen Pfad durch die Düsternis der desolaten Melodien schneidet.
Geschichten vergessener Tragödien und unerwiderter Liebe befreien den Reisenden von Tagträumen des Unglücks und leiten den Wanderer durch die kontrastierenden Landschaften aus Dysphoria und Ekstase.
Gemastert von Nils Frahm mit Artwork von Bruno Merz. Das Album sollte Fans von COCTEAU TWINS und PORTISHEAD ebenso wie Fans von JONSI & ALEX oder ZOLA JESUS gefallen.
Glücklicherweise arbeitet Alicia schon an ihrem nächsten Soloalbum samt Single, auf der sie mit Aidan Baker (NADJA, INFINITE LIGHT LTD.) kollaboriert." [label info]
www.denovali.com
|
2011 |
€19.50 |
|
| BJÖRGULFSSON, HEIMIR & JONAS OHLSSON |
Fur Your Bears Only |
CD |
Looking for some strange music? Here it is.. Der Ex-STILLUPPSTEYPA hier in Zusammenarbeit mit einem gewissen Jonas OHLSSON quälen uns mit Mutanten-Techno inkl. schnuckeligen BÄREN-Samples, hochabstraktem digitalen Microwave-Gebruzzel, undefinierbaren field-recordings mit hohem Abartigkeitsfaktor, Stille, und was sonst nicht noch alles..
und dann noch solche Titel wie „My Arse Glitches“, und Bären-Collagen auf dem Cover!
Coverartwork, Titelgebung, Musik = Popmusik an der Grenze zum Irrsinn, frische Neurotransmitter für eingerostete Synapsen.
“heimir björgúlfsson is an ex-member of the longstanding icelandic group stilluppsteypa and jonas ohlsson is a reknowned visual artist, both based in amsterdam, the netherlands. "fur your bears only" is their second collaboration after the "unspoken word tour" album in the brombron series released by staalplaat and extrapool. "fur your bears only" is the most melodic and poppy music ever to have come out of björgúlfsson & ohlsson, providing 8 tracks that show how disco & house can get distorted once in the hands of these two gentlemen. from the epic opening 10-minute title track onwards this work is full of abstract dancefloor sympathies.” [press release]
|
2003 |
€13.00 |
|
| BLACK MAGIC DISCO |
same |
do-LP |
"double LP couloured vinyls (vinyl 1solid RED / vinyl 2 solid WHITE); comes in a luxury gatefold cover, including a huge 70x100 cm. poster (by Roberto Opalio drawing); BLACK MAGIC DISCO ARE:
TOM GREENWOOD / psych-blues guitar, turntables.
ROBERTO OPALIO / electrogalactic guitar, space toys, astral toy-keyboard, piano toy, percussions.
MAURIZIO OPALIO / electric alien guitar, cosmic rays effects, mini-xylophone, percussions.
RAMONA PONZINI / Japanese vocals & hypnotic chimes.
Black Magic Disco is the new all-star band featuring Tom Greenwood (Jackie-O Motherfucker), Maurizio & Roberto Opalio (My Cat Is An Alien) and Ramona Ponzini (Painting Petals On Planet Ghost, Praxinoscope). The project was born out of an idea from Tom Greenwood, founder leader of the avant-folk-blues ensemble Jackie-O Motherfucker, who invited Maurizio and Roberto Opalio, aka the Italian improv duo My Cat Is An Alien (MCIAA), and their close collaborator Ramona Ponzini (also involved with the two brothers in the projects named Painting Petals On Planet Ghost and Praxinoscope, as well as in the new collaboration with Z'ev) to perform with him for two months of touring throughout all Europe in May/ June 2005. As one can imagine, the result was killer. The music which came out of the live performances was totally explosive, combining Ramona's Japanese vocals & hypnotic chimes with Greenwood's psych-blues guitar attitude & wild turntablism, over MCIAA's alien cosmic flux of electric guitars, space toys & percussions, creating a still unheard mixture of sounds unifying archaic & post-modern, western & eastern, sky & earth. This debut CD represents a unique chance to experience almost 80 minutes of that pure and magic live action, divided in four long tracks taken from the original live recordings. BLACK MAGIC DISCO's logo comes from the pencil of Roberto Opalio; the gatefold jacket CD artwork, curated by MCIAA contains some band photos taken during the live performances included in the record." [label info]
"... This is a music that grows out of the faith each performer puts in whatever they may come up with ? by the simple act of listening & reacting to one another in the most profound and dedicated way. Again, one of its greatest achievements lies in the fact that it is able to sustain a body of sound that is as intense as it is delicate; something which, in my opinion, is truly unique.
Accordingly, this is not just a testimony to the talents of the aforementioned musicians, but also one of the most passionate love letters MUSIC has received in quite some time. How can THIS not be essential? 10/10" [Francois Hubert / Foxy Digitalis]
www.asilentplace.it
|
2007 |
€19.50 |
|
| BLACK OX ORKESTAR |
Nisht Azoy |
CD |
Zweites Album des kanadischen Ensembles, die Klezmer- & osteuropäische Musik mit neueren alternativen Musikformen verschmelzen (wobei der traditionelle/ folkloristische Anteil aber klar überwiegt) , und dabei so emotional & authentisch klingen daß es sehnsüchtige Herzen sofort in den Bann schlägt... das Quartett besteht aus THIERRY AMAR von GODSPEED YOU BLACK EMPOROR, GABRIEL LEVINE von SACKVILLE und JESSICA MOSS sowie SCOTT LEVINE GILMORE von A SILVER MT.ZION, alle lyrics sind diesmal im Beiblatt abgedruckt (auf englisch & französisch, gesungen wird auf Jiddisch), die Coverartwork ist wie immer bei Constellation superb ! „..Das auf ihrem zweiten Album erzielte, mit ausschließlich akustischen Instrumenten umgesetzte Ergebnis klingt dabei so zeitlos wie fesselnd. Melancholisch, aber nicht schwermütig oder gar depressiv, vielseitig, aber nie beliebig und vor allem: lebendig!“ [Ulf Imwiehe / OX-Fanzine]
“The latest from this Montreal quartet who explore their common Jewish heritage for sounds that can speak to them today. Mixing pre-war Jewish and non-Jewish music from Eastern Europe and the Balkans with their own musical backgrounds in out-jazz, punk, and weird folk, the band takes the strangeness and beauty of the older music and translates them into new forms. Percussion, harsh sounds, dynamics, and sonic and lyrical explorations all get thrown in the mix.” [label info]
|
2006 |
€16.00 |
|
|
Nisht Azoy |
LP |
Zweites Album des kanadischen Ensembles, die Klezmer- & osteuropäische Musik mit neueren alternativen Musikformen verschmelzen (wobei der traditionelle/ folkloristische Anteil aber klar überwiegt), und dabei so emotional & authentisch klingen daß es sehnsüchtige Herzen sofort in den Bann schlägt... das Quartett besteht aus THIERRY AMAR von GODSPEED YOU BLACK EMPOROR, GABRIEL LEVINE von SACKVILLE und JESSICA MOSS sowie SCOTT LEVINE GILMORE von A SILVER MT.ZION, alle lyrics sind diesmal im Beiblatt abgedruckt (auf englisch & französisch, gesungen wird auf Jiddisch), die Coverartwork ist wie immer bei Constellation superb !
„..Das auf ihrem zweiten Album erzielte, mit ausschließlich akustischen Instrumenten umgesetzte Ergebnis klingt dabei so zeitlos wie fesselnd. Melancholisch, aber nicht schwermütig oder gar depressiv, vielseitig, aber nie beliebig und vor allem: lebendig!“ [Ulf Imwiehe / OX-Fanzine]
“The latest from this Montreal quartet who explore their common Jewish heritage for sounds that can speak to them today. Mixing pre-war Jewish and non-Jewish music from Eastern Europe and the Balkans with their own musical backgrounds in out-jazz, punk, and weird folk, the band takes the strangeness and beauty of the older music and translates them into new forms. Percussion, harsh sounds, dynamics, and sonic and lyrical explorations all get thrown in the mix.” [label info]
|
2006 |
€17.00 |
|
|
Ver Tanzt ? |
LP |
Wer auf „osteuropäische“ Harmonien steht, muss hier zugreifen !! Das BLACK OX ORKESTAR ist ein Bandprojekt mit Musikern der Montrealer Szene von SILVER MOUNT ZION, GODSPEED YOU BLACK EMPOROR und SACKVILLE, das seit 1999 besteht und osteuopäische & jüdische Klezmer-Musik mit Indie-Rock und FreeJazz-Einflüssen verbindet. Lyrics werden auf Jiddisch gesungen. Melancholische Leidenschaft pur!
“Black Ox Orkestar is a Montreal based quartet formed in 1999
The band features:
* Thierry Amar (double-bass) (Silver Mount Zion/ Godspeed You! Black Emperor/ Molasses)
* Jessica Moss (Violin, bass clarinet) (Silver Mount Zion/ Frankie Sparo)
* Gabe Levine (clarinet, guitar) (Sackville)
* Scott Levine Gilmore (vocals, mandolin, cymbalon, drums, ecc)
(Silver Mount Zion)
The Black Ox Orkestar songs filter the traditional Klezmer tunes through punk rock and free jazz, borrowing turkish/balkan/greek idioms. They are a hypnotic blend of Eastern European songbooks along with some traditional klezmer compositions. Scott Levine Gilmore and Gabe Levine also perform in "Le Petit Theatre de l'Absolu" a political theatre and puppet show. They have toured in occupied territories and have performed in Canada and in USA, France and Spain. Nowadays Klezmer music transcends its Jewish folk roots: Balkans and blues, ancient Jewish culture and prayer and history, spirit, punk rock, and jazz all mixed together and enjoyed by people of all cultures. (Klezmer in english means "instrument of song").
The lyrics are in Yiddish and concern past and current political issues. Yiddish was the language that the Eastern European Jews brought with them when they emigrated to America. At the beginning of the 20th century there were many Yiddish language newspapers and an important Yiddish tradition in theatre. Today it's hardly used as an everyday language but has left its impact on on the speech of the American Jews.
The lyrics of the song "Toyte Goyes in Shineln" are by the poet Itzik
Feffer who belonged to the Jewish Anti-Fascist Committee (JAC) and was murdered by Stalin's decree in 1952.
The album is available on CD and 180g vinyl formats, each in lovely
chipboard packaging and both featuring an 8-page booklet. The front cover artwork is an ancient kabbalistic icon and the back cover is original art by Scott Levine Gilmore.
The booklet contains historical and original images, and translation f
the lyrics "Ver Tanzt?" ("Who's dancing?"). On the back of the booklet is a prophetic message from Gershom Schol (one of the most famous researchers of the Jewish mystical tradition and the Kabbala) to Franz Rosenzweig (most influential figure of 20th century European and North American Judaism) dated 26 December 1926.” [press release]
|
2004 |
€16.50 |
|
| |
Ver Tanzt ? |
CD |
Wer auf „osteuropäische“ Harmonien steht, muss hier zugreifen !!
Das BLACK OX ORKESTAR ist ein Bandprojekt mit Musikern der Montrealer Szene von SILVER MOUNT ZION, GODSPEED YOU BLACK EMPOROR und SACKVILLE, das seit 1999 besteht und osteuopäische & jüdische Klezmer-Musik mit Indie-Rock und FreeJazz-Einflüssen verbindet. Lyrics werden auf Jiddisch gesungen. Melancholische Leidenschaft pur!
“Black Ox Orkestar is a Montreal based quartet formed in 1999
The band features:
* Thierry Amar (double-bass) (Silver Mount Zion/ Godspeed You! Black Emperor/ Molasses)
* Jessica Moss (Violin, bass clarinet) (Silver Mount Zion/ Frankie Sparo)
* Gabe Levine (clarinet, guitar) (Sackville)
* Scott Levine Gilmore (vocals, mandolin, cymbalon, drums, ecc)
(Silver Mount Zion)
The Black Ox Orkestar songs filter the traditional Klezmer tunes through punk rock and free jazz, borrowing turkish/balkan/greek idioms. They are a hypnotic blend of Eastern European songbooks along with some traditional klezmer compositions. Scott Levine Gilmore and Gabe Levine also perform in "Le Petit Theatre de l'Absolu" a political theatre and puppet show. They have toured in occupied territories and have performed in Canada and in USA, France and Spain. Nowadays Klezmer music transcends its Jewish folk roots: Balkans and blues, ancient Jewish culture and prayer and history, spirit, punk rock, and jazz all mixed together and enjoyed by people of all cultures. (Klezmer in english means "instrument of song").
The lyrics are in Yiddish and concern past and current political issues. Yiddish was the language that the Eastern European Jews brought with them when they emigrated to America. At the beginning of the 20th century there were many Yiddish language newspapers and an important Yiddish tradition in theatre. Today it's hardly used as an everyday language but has left its impact on on the speech of the American Jews.
The lyrics of the song "Toyte Goyes in Shineln" are by the poet Itzik
Feffer who belonged to the Jewish Anti-Fascist Committee (JAC) and was murdered by Stalin's decree in 1952.
The album is available on CD and 180g vinyl formats, each in lovely
chipboard packaging and both featuring an 8-page booklet. The front cover artwork is an ancient kabbalistic icon and the back cover is original art by Scott Levine Gilmore.
The booklet contains historical and original images, and translation for the lyrics "Ver Tanzt?" ("Who's dancing?"). On the back of the booklet is a prophetic message from Gershom Schol (one of the most famous researchers of the Jewish mystical tradition and the Kabbala) to Franz Rosenzweig (most influential figure of 20th century European and North American Judaism) dated 26 December 1926.” [press release]
|
2004 |
€16.00 |
|
| BLACK SUN PRODUCTIONS |
Astral Walk |
CD |
First real album by the Swiss duo, 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. Energetic, breathtaking ritual music for mind and body. Includes a cover of Soft Cell's "Macabre (Meet Murder By Angel)". Definitely one for COIL fans. Ltd x 1000 copies with beautiful artwork by Lukas Lux and layout by BSP." [label info]
www.finalmuzik.com
|
2004 |
€10.00 |
|
| BLACK SUN PRODUCTIONS & VAL DENHAM |
Somewhere between Desire and Despair |
CD |
"After a couple of collaborations on tracks, Black Sun Productions finally get together with Val Denham for a full length release. Val Denham might be best known for her paintings that have appeared on releases by Marc and the Mambas, Psychic TV... but over the past few years she has been releasing short-run CD-Rs of her lo-fi sounds. Homosexual overtones inform much of Black Sun Productions material but with Val Denham, a transgendered figure, the focus moves on to a new form of sexuality.
Somewhere Between Desire and Despair opens with the haunting atmospheric drone of 'A Tale of Two Cities' with Denham reciting lines from Charles Dickens. From then on much of the first half of Somewhere Between Desire and Despair flirts with various forms of electronic music. It's clear from 'Cobalt Blue' that Massimo and Pierce haven't forgotten their past association with Coil, as it picks up on the rhythmic shuddering Coil-like electronics with Denham's voice pitched deep and treated, alongside passages of sped-up processed vocals. Val Denham is something of a character and, at times, she sounds like a Northern housewife reared on a diet of glam records. 'Stars', a Denham collaboration with Testing Vault, goes all downbeat with dark electronics, featuring Denham's idiosyncratic take on a pop vocal. Denhams' voice is almost helium-fuelled on the disco-chug of 'We Are The Hydrogen'. 'Eat Us Mother!' foregoes the electronics for a surprisingly sparkly run through post-punk dynamics. Denham picks up on a rock persona teasing the listener with her shrieky and screechy vocal careering over booming bass and discordant guitar scrapes from her longtime collaborator Oli Novadniek.
Things slow down in the next half with a collection of evocative tracks, much in the vein of Black Sun Productions fantastic OperettAmoralle. The disorientating queasy electronics of 'Absinthe' has Denham relating a tale of alcohol abuse, evoking the Green fairy alongside some effective harmonium and harmonica drone. Many of the tracks here use mournful orchestration taken from a track called 'Morphium' - though the source isn't given. 'Andromeda' taps into the mind of the transgendered artist. It's almost poetic as Denham delivers a spoken vocal in her homely Northern tones. Much more poignant is 'Flowers In The Trenches' which tells of transgendered and transexual soldiers who fought in WWI. Amidst sombre strings and military snare drum rolls Denham speaks of those unnamed and forgotten soldiers who were, in fact, "women in their heads" fighting in another "man-made catastrophe" and "suffered for nothing". Enlightening stuff.
Val Denham really shines on the campy theatrics of 'I Try To Kill The Man' over the Weimar Berlin cabaret sounds of 'Das Lila Lied', an early 20th century homosexual anthem, here performed by the Ophelia Orchestra. Similarly 'Emerald Green' uses the score of Marlene Dietrich's 'Such Trying Times'. Denham is finely positioned to evoke the decadence, sexual transgression and dark wit with her sarcasm and style. Black Sun Productions have, of course, produced their own musical tribute on the works of Bertolt Brecht to tremendous effect and Denham's contributions don't disappoint.
Somewhere Between Desire and Despair is much more fun-filled than previous Black Sun Productions. It strikes a balance between electronic music and cabaret music, and a balance between poignancy and absurdity. It's not the most coherent release, partly due to the varied list of collaborators, but Val Denham manages to carry it all off with a verve and panache, informed by her strength of character, her honesty and humour. Somewhere Between Desire and Despair comes in a 6-panel digipak with wonderful representations of Val Denham's artwork."
[Review by Compulsion]
www.touretterecords.com
|
2009 |
€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 |
|
| BLACKSHAW, JAMES |
The Glass Bead Game |
LP + CD |
"I'm extremely pleased to announce that James Blackshaw will now be releasing his absolutely spellbinding music via Young God Records. He has received attention as a 12-string guitar prodigy / virtuoso. He used to be in punk bands in England, but then he started listening to people like John Fahey, Robbie Basho, etc., and I assume locked himself in a room for 12 hours a day for several years and just played constantly. It takes intense discipline and a religious commitment to get to the place where he's at with his instrument. But his music isn't about his "skill." It's not showy. It's deeply meditative--the secret language of a pre-thought, pre-dream place. "Blackshaw plays soulful and kaleidoscopic, ever-shifting mantra cycles of incredible beauty. Just his guitar by itself, with its swirling overtones, cascading notes, and a thousand points of light, resembles an orchestra, but with further orchestration--piano, strings, wind, and vocals--the music is positively cinematic and mesmerizing. "The 18-minute-plus gem on this record is 'Arc,' performed on piano with the sustain pedal on full throttle. The rush of sound created by the overtones from Heaven, augmented by strings and wind, when played at proper (full) volume, is one of the most thrilling pieces of music I've heard in years. It takes a rare and single-minded courage and commitment to make music with such a powerfully positive force at its heart, especially in these troubled times. This is healing music that reaches for what's possible, just beyond our grasp. It is stellar... "Blackshaw is joined on this record by Joolie Wood (Current 93, Simon Finn) on violin, clarinet, and flute, and John Contreras (Baby Dee and Current 93) on cello. Lavinia Blackwall (Directing Hand) is a classically trained singer and contributed vocals." [Michael Gira/Young God Records]
"... We totally love how his style and aesthetic remains intact, whether he’s sitting at the piano or with a guitar on his knee, his close attention to detail and use of hypnotic, emotionally captivating melodies shines throughout. Notes flickering and shimmering about as overtones soar above like clouds.
There’s so much about this record that you can get fully wrapped up in, so much detail it would be impossible to absorb it all in just one listen. We’ve already been listening to Glass Bead Game for over a week, and still new details keep popping out of the woodwork. And to top it off, beautifully fitting, earth-toned artwork of various birds of prey perfectly adorns the album with some magical visual hex. By far our favorite Blackshaw album to date and quite possibly his best, highly and fully recommended!" [Aquarius Records]
|
2009 |
€17.00 |
|
| BLAKK HARBOR |
Madares |
do-LP |
Debut double LP album from Blakk Harbor the Greek Berlin based artist and sound designer behing Native Instruments, Angelos Liaros. Soaring drones, dark ambiences and expertly crafted sound design. ‘Madares‘ title derives from the actual dune mountains of Crete. This moonlike landscape a sacred land of ancient ceremonies and the main inspiration for the album concept, cover and artwork. Percussive samples and drones are created from traditional custom Cretan instruments (lute, skin drums, lyra, tsabouna) & world instruments (Tibetan bowls, gongs, dungchen horns) granulized to death drones through modular synths and hardware samplers.
A black hole soundtrack that sucks you in tearing the fabric of space and time. Enter a ritualistic occult trip to the unknown.
https://blakkharbor.bandcamp.com/releases |
2018 |
€26.00 |
|
| BLEGVAD, PETER / JOHN GREAVES |
Kew. Rhone |
CD |
"The classic restored. No extra tracks, just this legendary release as it was originally conceived. Kew Rhone was made soon after Peter and John left Henry Cow, at Carla Bley and Mike Mantler’s Grog Kill studio in New York (they both appear on the CD). Fellow conspirators included singer Lisa Herman and drummer Andrew Cyrille. It’s one of those records which sums up a moment; a creative moment in which ideas have come into clear focus, and just need to be got down; an historical moment at which an innovative, collaborative run of cultural luck is about to run out. It couldn’t have been made earlier or later, we’re just lucky it got made at all." [ReR website short info]
"For decades this was a cult item. People fought about it. The songs are accessible, but difficult, the music - recorded at Carla Bley and Mike Mantler’s studio back in the JCOA days - is eccentric, extremely complex, but still catchy. Bley, Mantler and the legendary Andrew Cyrille all appear on it in arrangements that are… pretty off the wall. It’s rock, it’s jazz, it’s a song cycle, it’s a one-off hybrid with some traces of Henry Cow and Escalator over the Hill, it’s deep or indulgent, or both – but whichever line of approach you adopt, it’s art. And that makes it a major achievement. It also manages to be funny and charming while taking no prisoners in the high intellect department.
After the Henry Cow/Slaphappy merger, Peter left and John followed him a year or so later. The two of them then concocted this highly ambitious project - a marriage of high literary ambition full of Ouliposeque anagrams, palindromes, missing letters and wordgames, and meticulous musical complexity rooted in show music, jazz and the fringes of experimental rock. The album design, text and musical content together embody a continuous, integrated, work: so the texts refer to the artwork (both are by Peter Blegvad) and vice versa; neither quite makes sense without the other.
Pop Triva Fact: Kew. Rhone was released on the same day, and on the same label, as the Sex Pistols's Never Mind the Bollocks, Here’s the Sex Pistols. Never Mind the Bollocks, Here's the Sex Pistols" [press release]
"Completely and utterly unlike any other album you're likely to come across. Ever." Andy Gill NME
"How in the name of God could anyone take lyrics so oblique, so obscure, so cerebral and fashion such a memorable tune out of them?"
Jonathan Coe (author of The Rotter’s Club)
“A neglected masterpiece of surreal rock…a musical Finnegan’s Wake”
Clive Bell. The Wire.
"A neglected masterpiece of '70s progressive rock” Stewart Mason, AllMusic.
"The classic restored. No extra tracks, just this legendary release as it was originally conceived. Kew Rhone was made soon after Peter and John left Henry Cow, at Carla Bley and Mike Mantler’s Grog Kill studio in New York (they both appear on the CD). Fellow conspirators included singer Lisa Herman and drummer Andrew Cyrille. It’s one of those records which sums up a moment; a creative moment in which ideas have come into clear focus, and just need to be got down; an historical moment at which an innovative, collaborative run of cultural luck is about to run out. It couldn’t have been made earlier or later, we’re just lucky it got made at all." [label info]
www.rermegacorp.com
www.rermegacorp.com
|
2015 |
€14.00 |
|
| BLUME, FELIX |
Fog Horns |
LP |
French sound artist Félix Blume keeps pushing the boundaries of field recordings for our enjoyment. “Fog Horns” captures the sounds of boat horns in Piraeus, Athens, Greece, the port city that serves some of the most important ferry routes in Greece nowadays. Yes, boat horns are annoying, sometimes disturbing and even absurdly disrupting if you live in a port city or one that is blessed with the arrival of cruises. We all know that. But we also knew that recordings of funerals could be tricky, and Félix Blume pulled a gem out of last year’s “Death In Haiti – Funeral Brass Band & Sounds Of Port Au Prince (CREP51)”.
And he has done it again. The A side reveals a long track recorded during a fog horn concert whilst side B features three ‘remixes’ of the same recordings, paying respect to what Ingram Marshall did in “Fog Tropes” in three different ‘movements’. In a way, B side sounds like the perfect soundtrack for the recent remake of “Suspiria”. But Thom Yorke got in the way.
Jokes aside, there’s something magical about these horns. In the eighteen minutes of the first side, Félix Blume explores the concept of a concert played by those horns. The horns dominate but sounds of the surroundings create a perfect balance to the drone hysteria. The surrounding sounds are the heartbeat of this track. The horns are the metal section of an orchestra, while the rest works like the strings. Hidden melodies are revealed when you listen to this with your full attention, and the more you do it, the horns become less present, vivid. It’s one of the many crafts of Félix Blume, the more you live with his music, the more you focus outside the plot.
If those eighteen minutes sound tremendously real, the three tracks on the other side feel like a horror film. The warmth disappears to become cold ambiance, beautifully textured and enigmatic sounds take over. Horns are still heard, but they’re a different kind of horns. It seems that Félix Blume is playing with our perception, from bliss to horror. A honk will never be the same again.
With collage artwork by Evan Crankshaw.
Recorded by a AB Setup with two B&K 4006 microphones, on a 633 Sound Devices recorder, in Wave 96kHz 24bit.
Side A is the recording, without any effect and only light editing, EQ and mixing.
Side B is a sound creation, mostly playing with the speed and some repetition, done with the material of Side A.
TRACKS
A1. Fog Horns (18’04)
B1. Horns in Fog pt1 (4’51)
B2. Horns in Fog pt2 (4’33)
B3. Horns in Fog pt3 (5’44)
www.felixblume.com/foghorns/ |
2019 |
€21.50 |
|
| BOCKSHOLM |
Ironic Discomfort and Cheesy Manners |
CD |
It took four years.
First we didn\'t dare to do it; to cause a moral disaster.
But here we are, and we want to do it and we don\'t regret anything because the album has just been released.
In 2014 Bocksholm performed live in the outer domains of Boxholm for the first and probably last time.
Performing a mashed up \'Best of\' live-set in front of native clogs audience, amongst inbreeders and the commonly disabled, in the band\'s own natural habitat and backyard, it couldn\'t be anything but success.
Wine and vodka flooded like a deluge in everyones throats, black clogs were thrown on the stage from the very first second, the home-distilling machines went overheated, the women-raping-men rates hit the ceiling of the local ironworks and the ancestor Stenbock himself turned in his grave not only once but six times.
Now you can experience the same, if you dare to buy the Ironic Discomfort And Cheesy Manners.
Somehow this album will become a homage to the cheese manufacturing in Boxholm, that sadly will stop by the end of 2019 because of greedy owners that found a way to save money by moving the manufacturing too another town far away.
After this things will never be the same in Boxholm, a huge loss of cultural identity not only for the town itself but probably also for the Bocksholm project.
At least, there will still be iron.
Maybe... more
credits
released July 10, 2019
Executed live by Peter Andersson and Peter Andersson 2014-2015.
All pieces melted and forged by Peter Andersson and Peter Andersson 1998-2014.
K-14 level mastering by Peter Andersson 2019.
Artwork designed by Peter Andersson based on photos of the remains of Sweden\'s first electric locomotive built in Boxholm 1890.
Tracklist:
1. Scoria 06:40
2. The Horror Of Kisa 07:40
3. Stenbock And His Diciples 06:22
4. Mobil Oil 05:49
5. Forging Hammers 06:54
6. Birath, The Beast Of The Forge 06:16
7. Smiden Utaf Järn Och Stål 03:46
8. Pounding The Perpetual Nail 04:37
9. The Brittle Dross Of Irony 06:45
10. Dairy Exequies 03:17
11. Boxholm Seven Minutes After Death 06:53
12. The Koeven Nightmare 09:56
Track 01-06 recorded on 8 August 2015 at Hulterstad Sounds Festival, Granforsen, Boxholm, Sweden.
Track 07-10 recorded on 17 October 2014 at Machines with Magnets, Pawtucket RI, USA.
Track 11-12 recorded on 29 March 2014 at Wrotycz Records 10 Years Anniversary Festival, Poznan, Poland.
|
2019 |
€13.00 |
|
| BOHREN & DER CLUB OF GORE |
Geisterfaust |
CD |
"Viertes Album der Kult-Band ! Wir warten immer noch auf den Einsatz ihrer Musik im nächsten DAVID LYNCH – Film !!" [Drone Rec comment]
"Geisterfaust ist ein luxuriöses Album und das wissen die Herren von Bohren auch genau. Sie würden das wohl "luxuriöse Langeweile" nennen. Und im Gegensatz zu "Black Earth" wirken die 5 Finger von Geisterfaust" auch noch einmal deutlich heruntergeschraubt, zurückgefahren und reduziert. Dazu auch passend alles hell gehalten, von den weissen Kleidern auf den Pressefotos über das helle Artwork. Lediglich bei Konzerten spielt die Band fast im völligen Dunkel. Bis zum letzten Stück "Kleiner Finger" glaubt man auch das Saxophon sei dem erneuten Schritt zur Reduktion zum Opfer gefallen, aber da taucht es schliesslich noch mal auf, in bester "Black Earth" Manier. "Geisterfaust" ist extrem, mutet es dem Hörer doch streckenweise eine schiere Trägheit zu, die einen gar nimmermehr aus den spärlichen Klangformen und der Kralle von "Zeigefinger", "Daumen", "Ringfinger", "Mittelfinger" und schliesslich dem so erlösenden "Kleiner Finger" entlassen will. Hier ist Durchhaltvermögen angesagt, das den Theatergänger mit Druck auf der Blase in den Sessel drückt und einen schönen Abend streckenweise zur Qual werden lässt. Im positiven Sinne, versteht sich. Oder man hört "Geisterfaust" nachts, in Momenten wo Zeit und andere Konstanten des Lebens eh keine Rolle mehr spielen; sich aufgelöst haben. Hier wird Musik geschaffen, deren Schönheit tiefer liegt als ein flüchtiger Blick über die Oberfläche. Lange Ausklänge und atmosphärischer Raum bestimmen das Bild." [Creative-Eclipse]
|
2005 |
€13.00 |
|
| BOHREN & DER CLUB OF GORE / WALD |
Schwarzer Sabbat für Dean Martin |
7inch |
"Streng limitierte, remasterte Wiederveröffentlichung der 1995 erstmals erschienenen Konzept-EP als Kollaboration von BOHREN & DER CLUB OF GORE und MARK SIKORAs
Musikprojekt WALD als 7“-Single mit 4c-Cover. Die 200 weltweiten Exemplare sind auf dem Etikett der B-Seite leicht angebohrt, das weiße Innersleeve ist mit einer Probe von getrocknetem Laub beklebt.
WALD war eine Formation, die neben dem Autor (Spex), Musikvideoregisseur und Grafikdesigner MARK SIKORA aus einer Sängerin und JÖRG FOLLERT (WUNDER) bestand. Auf der A-Seite bearbeiten WALD vier Demosongs des befreundeten Vorläuferprojekts BOHREN, die zwei restlichen Songs sind Akustikversionen, darunter ein AUTOPSYCoversong.
Auf der B-Seite sind die Mühlheimer unter dem vollen Namen BOHREN & DER CLUB OF GORE mit dem Song „Schwarzer Sabbat Für Dean Martin Pt. 1&2“ vertreten. Das 4c-Artwork stammt von JÖRG FOLLERT, die Aufnahmen wurden 2014 komplett neu
von den Originalbändern gemastert."
https://www.youtube.com/watch?v=NQKrfdhFIZY
|
2020 |
€17.50 |
|
| BOKANOWSKI, MICHELE |
La Plague |
LP (one-sided) |
"Invisibilia - the new Canti Magnetici serie curated by Andrea Penso - is proud to introduce for the first time on vinyl a composition of Michèle Bokanowski, one of the most poetic composers in the avantgarde european music scene.
Remained unpublished until today, this composition is made as soundtrack for the short film "La Plage" (1992) created by the experimental filmmaker Patrick Bokanowski (husband of Michèle Bokanowski).
"La Plage" is probably the less "concrete" composition made by Michèle Bokanowski. It is pure liquid abstraction in sounds. It is one of those rare compositions really out of time and space.
As expressed by Pip Chodorov, editor of 4 DVDs that contain all the films directed by Patrick Bokanowski, we can feel the works created by Michèle Bokanowski and Patrick Bokanowski are a sort of "spiritual search for the overrunning of perception, and thereby oneself. Searches into abstraction in the real, mysterious blanks that recover the daily".
***
Born into a musical environment, Michèle Bokanowski studied Russian before turning to composition after reading Pierre Schaeffer’s "À la recherche d’une musique concrète".
Training in classical composition with Michel Puig, she followed a course at the Research Department of the ORTF directed by Pierre Schaeffer and was part of a group researching sound synthesis.
She composed mainly for concert and cinema (music of Patrick Bokanowski ’s short films and his two features "L’Ange" and "Un rêve solaire"), and also created music for theatre and dance performances. As a composer of electroacoustic music she skilfully employs techniques of looping, reinjection and montage scripting. Her concrete, evocative and poetic sounds find resonance within an ambiance of mystery in which expressivity is always dominant.
Single sided vinyl, limited edition of 300 copies. Unconventional 4 different cover artwork (75 copies each) on elegant embossed cardboard (2 colours version : Lavanda and Tabacco), one credit sheet inside. All on high quality recycled paper.
|
2019 |
€16.00 |
|
| BORGA, ASCANIO |
Altered States |
do-CD |
disc 1: recorded in january 2010
disc 2: recorded in february 2011
remastered in v2k studio
ab - treated electric guitar
the music contained in this album was recorded in two single live improvisations in studio - no overdubs or additional effects were successively added in the recording
artwork and layout by ab
portrait of ab by erika bonanni
thanks: giuseppe verticchio
© sonic boundaries sb001
https://ascanioborga.bandcamp.com/album/altered-states
"Like listening to a painter attack the canvas while drinking absinthe in the other room, Altered States is a two-disc, ninety-minute collection of solo guitar vignettes by Ascanio Borga, his first on new label Sonic Boundaries. Track titles hang off the same, great chain of roiling, evolving being – “Magma”, “Acid Landscape”, “Harsh Ground”, “Raw Science Loops” – and Borga works quickly but methodically. Altered States is formalist in the sense that no heed is paid historic, political and cultural context, all attention instead focused on the materiality of the art.
Disc one was recorded one day in January 2010, disc two also a single day, one year and one month later. Dark green outside, vital-organ pink inside. Played and treated live, no additional fiddling or overdubbing, a dozen states of mind (even grace) passionately expressed. The cumulative effect is volcanic, droning, sputtering worlds being formed, others being pulverized down to cellular level, ancient in gut feel, ablating all other thoughts. You can´t help but concentrate. Raw indulgence, visceral gratification."
[Stephen Fruitman - avantmusicnews.com/2015]
"It's hard to believe but it seems that I wrote about Ascanio Borga three times in Vital Weekly, in issue 550, 600 and 657, but not after that. I have no idea why there is such a long gap in producing some new music (and I surely would have believed it wasn't that long ago), but he manages now to release a double CD of recent works. Like before Borga's main instrument is the guitar but unlike before it's just the guitar and no percussion, wind chimes, Japanese carillon, frog guiro, samples, found sounds and objects as on the last release. He writes that 'Altered States' is an album of 'guitar solos' and that they were all recorded live in the
studio, with no additional overdubs. That still is something that leaves many options open, and Borga certainly explores a few roads here. Drones are, obviously, an important part of these twelve pieces (close to ninety minutes in total), with some of these being viciously loud and noisy, or, as in 'Magma' or 'Radiance' with an orchestral touch. Sometimes there is a more rock like approach to his guitar sound and Borga layers many of these on top of each other: effects such as loopers, delay and reverb play an important role, as well amplification. In 'Harsh Ground'
the resemblance with guitar sound is virtually gone in favour of a more abstract, controlled feedback. A minority of the pieces consist of more open ended strumming of the six strings, which I think is a pity; the release could have used a little more variation I think. The balance is now in favour of the noisy nightmares of burning distortion boxes, wandering off in the endless void of reverb and feedback. I think a stricter selection of pieces, ultimately fitting on a single disc, would have made a much stronger release. But now, spread out over two discs, this is just a 'great' one as well." [FdW/Vital Weekly]
|
2015 |
€12.00 |
|
| |
Raw Science |
CD |
"The common ground beneath these pieces is an experimental approach to the music production process. In a classic situation, recording, mixing and mastering have a mere technical role as they are employed to capture instruments and sounds, add auxiliary effects, balance tracks, to exploit and correct sound problems. The main focus is usually on the first steps: in theory, with an ideal quality recording, subsequent phases (especially mastering) should be reduced to a minimum to preserve the original sounds with maximum fidelity. This implicitly makes the assumption that the creative part of the music (i.e. the one where lies the musical language) is oustide the whole process of music recording and production.
The last assumption does not hold for concrete and other forms of experimental music, including this one. Here, effects and sound manipulation play a primary role, mixing and mastering are part of the composition, active creative phases in which crucial modifications and ideas can be inserted, driving the recording towards completely new and unexpected directions. Every phase of music production is not separate from the others, as the whole process can be repeated several times, in any order, following a non-linear pattern. Creative elements can live in any moment between the initial conception of music until the final master. The composer has an extended palette of tools, including those of the sound engineer, to take deeper control on the sound itself. [from the liner notes]
credits
released September 1, 2016
Recording, mixing & mastering: v2k alchemical laboratory, Rome, 2013-2016
(except some parts of track 1 which were recorded in Berlin)
Ascanio Borga - electric guitar, synthesizers, samples, noises, treatments
Artwork and layout by AB
Cover painting: “Cutting The Stone” by Hieronymus Bosch
Other images: a reproduction of the Alchemical Door (Rome)
© sonic boundaries sb002
"Ascanio Borga is one discreet but continuously creative sound artist coming from Rome and whose objective is to cross various fields of electronic experimentation, from retro-ish cosmic synth excursion to vaporous space ambient and dark droning vibes. Over the years he mainly published self-releases as limited editions now available on his online Bandcamp store. One interesting fact, in 2008 he published one release on Afe Records (founded by pioneering dark ambient artist Andrea Marutti).
As stated in the press release and compared to his early materials Raw Science deliberately embraces a more sonic and claustrophobic sound universe where crackling industrial noises are melted with tripped out and freezing black noise textures. The whole concept and the visual aesthetic brought to the fore are based on antique knowledge, alchemical then hidden sources of sciences, apparently taken from medieval esoterism and the mystical kabbalistic wisdom.
The pieces gathered on this album sound quite hermetic, not easy to approach at first step but with required attention we can appreciate a tremendous gallery of fuzzed out and metallic drone rituals as in the rather industrial “Porta Alchemica” or as in the sonically grimy “Azoth.” Those kind of obsessional and textured noise ambient sequences admit comparison with the corrosive experimental assaults of Constrate or Sigillum S and the buzzing minimalism of Keith Fullerton Whitman. All in all Raw Science is a pleasant curiosity to discover in the noise / harsh psych drone territory."
[Philippe Blache - igloomag]
"With more than three years in the making, Raw Science is one of the most convoluted Borga's works. It contains four extended tracks crafted with careful stratifications, noise manipulations and other heavy sound treatment of various sources. With its unique mixture of dark electronics, guitar drones and concrete/noise elements, Raw Science occupies a musical niche similar to that of Bad Ground and Xenomorphic."
[Sonic Boundaries]
https://www.youtube.com/watch?v=zS3iuxyZndQ
|
2016 |
€10.00 |
|
| BORISOV, ALEXEI / OLGA NOSOVA / DAVE PHILLIPS |
Borinosophil |
CD |
listen: https://dave-phillips.bandcamp.com/album/--2
Alexei Borisov - Guitar, Electronics, Voice
Olga Nosova - Drums, Electronics, Objects
Dave Phillips - Bass, Electronics, Voice, Field Recordings
released by Monotype Records, Warsaw in an 'Ecopack' sleeve. artwork by dp.
source material recorded in Moscow in the summer of 2009. most was improvised in alexei's living-room on tiny speakers with an assemblage of instruments and objects. one track was recorded in a studio with drums, guitar, bass and vocals. the resulting hours of recorded material were analysed - most of it was dismissed - the remains were taken apart and reassembled into 5 distinctive and epic sound-compositions. loud intimate music.
arranged 2010/2011 & mastered May 2011 in Zürich by dp.
REVIEW courtesy of Frans De Waard/Vital Weekly # 839 (July 2012)
This disc has the regular performing duo of Russia's finest, Alexei Borisov and Olga Nosova. Together they traveled the world, playing together but also performing with others, such as Anton Nikkila, Matthieu Werchowski, Dora Bleu, Thomas Buckner, Tom Smith, Jandek, Anton Mobin and a_spirale and somewhere along the lines they bumped into Dave Phillips, who is best known for his radical approach to noise, silence, performance and video. This trio worked together in june 2009 in Moscow and the recordings were later on edited by Phillips. It combines the energy unleashed by Borisov/Nosova together with the more continuous sound world of Phillips and occasional rapid editing from him. It seems to me that all three go off their usual path a bit. Its not as loud as I would expect from Phillips (but maybe I am not listening in the same volume as he plays live… actually I am sure of it) and perhaps also less object based as I would expect and it seems less improvised for the duo, although I am not sure. But that leads however to music that is quite good. Densely orchestrated electronics, in which the voice of Nosova is there, but pushed away it seems, and throughout the music has a hypnotic, psychedelic feeling to it. Great stuff.
Includes unlimited streaming of БОРИНОСОФИЛ via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. less |
2012 |
€12.00 |
|
| BOTCHAN KARISEN |
Reactions Mecaniques |
mCd-R |
Die Nr. 33 in der tollen Taalem-Reihe und schon wieder ein neuer Name. BOTCHAN KARISEN lässt sich im Bereich "repetitiv / hypnotischer / experimenteller Noise-Ambient" ansiedeln,
recht scharfkantig das ganze, über einem derangierten Piano-Loop wandeln viele noisig-disharmonischer Elemente...
"a mix between un/de-tuned piano melody, manipulated sounds, ambient experimental music and noise... botchan karisen is also known for his electro-industrial sounds under the Babylone Chaos alias (last release on divine comedy records). he's also part of the experimental & oniric duo Scripta Manent. full-colour printed 3" cd-r with artwork by cyril herry." [label info]
|
2006 |
€5.00 |
|
| BRADLEY, PAUL |
Liquid Sunset |
CD |
Two drone-tracks (one very long, one shorter) that pass by like hazy shades, very minimal and soft cloudy (over-)tones that let the time stop...
“Colour bursts on the horizon. The haze of light creates a dreamy, almost unreal atmosphere. Everything slows to a stupor as the sun finally drops from view, ever static yet ever evolving, to be reborn again in a few short hours. CD encased in some delicious artwork.“ [label description]
www.twentyhertz.co.uk
|
2005 |
€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 |
|
| BRUME |
After the Battle |
CD |
"Christian Renou, leading master of audio suspense is back under his familiar alias Brume.
Following something old & new on Elsie and Jack earlier this year, here is a full brand new solo work: 'After the battle', an amazing visual journey in sound that captures you from the first seconds right to the very end!
Whether all this was created analog/digital or mixed seems irrelevant, Brume keeps surprising his audience in the best possible way, as if he has never been away……Viva Brume!
Goldprint on helldark blue relief cardboard featuring artwork by US artist Jonathan Canady.
Including the official Brume/C.Renou discography, with big cheers to the Grandsons of Elsie and Jack." [label info]
www.eetapes.be
|
2009 |
€13.00 |
|
| BRYARS, GAVIN / PHILIP JECK / ALTER EGO |
The Sinking of the Titanic (1969- ) |
CD |
"...GAVIN BRYARS taucht mit der Neueinspielung
seines Klassikers The Sinking Of The Titanic (Tone 34) auf der Biennale in Venedig 2005 noch einmal ein in das Wasser ohne Balken und die Luft ohne Drähte. Überlebende, 711 von 2201, gab es nur Dank Marconis drahtloser Telegraphie, wobei die 1. Klasse dreifach bessere Überlebenstüchtigkeit bewies als die 3. und die Mannschaft. Bryars selbst am Kontrabass und das italienische Ensemble Alter Ego spielen ebenfalls etwas, das ‚Autumn‘ heißt, jene episkopale Hymne, deren dritte Strophe die passende Zeile Hold me up in mighty waters; Keep my eyes on things above enthält. Philip Jeck dreht mit seinem Vinylgeknister die Zeit bis nach 1912 zurück. Dazu hört man - Legenden
gibt es immer in mehreren Versionen - den Bericht einer Zeugin, die Nearer, My God, to Thee gehört haben will. Der Unterwassersound der immer und immer wieder intonierten, aber verlangsamt und wie schon nicht mehr von dieser Welt in einer Luftblase gespielten Hymne mischt sich mit herbstlichen Assoziationen wie Grillengezirp, aber auch der raunenden Menge bei
einem Sportereignis. Jeck‘scher Sarkasmus? Die Regenmacher als perkussives Element wirken ähnlich makaber. Wäre das Pathos ohne solche V-Effekte zu stark? Oder soll es diesmal gegen Kitschverdacht hartgekocht werden, nachdem die ‘94er Version (Point Music) noch einen Kinderchor und dunkle Bläser mit versenkt und auf dem Gebein am Meeresgrund Morsezeichen getokt hatte? Wenn die White-Star-Musiker, von denen keiner überlebte, aber tatsächlich als Letztes Walzer gespielt haben? Und wenn Marconi recht hätte, dass Klänge unsterblich sind? Dann wellt sich um den Erdball, selbst wenn auch die Erinnerungen längst verdämmert, zu Bernsteintränen geronnen und zu Hollywoodmelodramen verklärt sind, eine oxymorone Kakophonie aus Entsetzensgebrüll im Walzertakt." [Bad Alchemy]
"Performed by Gavin Bryars (double bass), Philip Jeck (turntables) and Alter Ego (strings, brass, wind, percussion, keyboard, tape recorder and sound design). This version of UK composer Gavin Bryars' seminal piece, The Sinking of the Titanic, was recorded at the 49th International Festival of Contemporary Music at The Venice Biennale, October 1, 2005 at the Teatro Maliban. The Sinking of the Titanic is an open semi-aleatoric work written in 1969 and Bryars has developed versions of variable length (from 15 minutes to an hour) that have been performed in different contexts, both as sound installation and as a real concert work. The piece has its origins in an obsession (one in which Bryars meditates on the famous ship's sinking), whose evidence is in a minute handwritten notebook. This brings together information, curiosities, evidence, statistical data on the survivors, technical research on the ship, on the places occupied by the passengers, on projects for the wreck's recovery. This sinking is then a metaphor for the failure of modern technology, of the paradox of modernity, the fact that a super-technological ship could have been rammed and sunk by a block of ice. The version proposed by Alter Ego (a contemporary music group based in Rome, Italy) and Gavin Bryars is an absolutely new approach for the project and for multimedia installation. The other important new figure in this version is Philip Jeck, one of the most important names on the experimental scene. Jeck uses his experience to cover the sound with a blanket of thin dust, which, at the same time, is memory, distance, hallucination, traveling and anxiety. The dust which comes from the obsessive repetition of a short phrase and its melancholy is part of a harmony that Jeck shares with Bryars that succeeds in freezing time in another dimension. This is another important aspect of the Titanic idea: one related to memory and to lifetime, to concreteness and abstraction meant as a metaphor for the journey between life and death, the ocean's surface and depth. Gavin Bryars (double bass); Philip Jeck (turntables); Alter Ego (strings, brass, wind, percussion, keyboard, tape recorder and sound design). Limited edition of 2000 CD in a special wallet + postcard [postcard image by media artist Andrew Hooker]. Artwork by Jon Wozencroft." [press release]
www.touchmusic.org.uk
|
2008 |
€14.00 |
|
| BURIAL CHAMBER TRIO |
Wvrm |
pic-10 |
ONLY VINYL IS REAL! Erst einmal fällt die beeindruckende Cover-Artwork von SELDON HUNT auf, zusätzlich zum SPLATTER-igen picture-vinyl gibt es noch gold & schwarz bedruckte klare Inlays, sehr passend zum dem unglaublichen tief-morastigen Sumpf-Bass-Drones die hier erzeugt werden, man meint die hohe Lautstärke mit denen hier die Verstärker in Schwingung versetzt wurden immer noch zu spüren, alles steht kurz vor dem ZERBERSTEN, und irgendwo da drin in diesen tiefen Feedbacks ist eine menschlichähnliche Gestalt die ächzt & stöhnt, ein sterbendes Monster... DIE BESTIE IST LOS! Selten einen so tiefgrunzend-abartigen Sound vernommen...
In der Tat, auf 33 klingts noch besser als auf 45, und es dröhnt länger.... so LIEBLICH!
"The Burial Chamber Trio is: Oren Ambarchi (Guitar, Analog Electronics), Greg Anderson (BASS/subsonics) & Attila Csihar (Vokills, invokations). Live recordings from the groups performance in Rotterdam, Holland in Jan. 2007 at club: Wurm. 10"Picture disc // with original art and packaging design by Seldon Hunt. Two transparencies with gold ink/printing on them." [label info]
"....For this outing, Ambarchi and Anderson are credited with sub bass death throb, while Attila is responsible for undead voices. And that's pretty much what it sounds like, sub bass throbs with haunting undead vocals woven into the heaving roiling mass. There seem to be some guitars in there too, maybe some electronics, but it's hard to tell, it's all smeared into a single swirling blackened mass. When we first listened to it, we played it at 33 (which we're assuming now is NOT the right speed, so hard to tell sometimes), and we thought, wow, this is even slower and sludgier than ever, but once we figured out it was meant to be 45, the sound reverted back, closer to the sound of SUNNO))) or the older records of their forbears Earth. Slow motion riffage, glacial and thick, massive and blown out and super distorted, muffled and murky, a sluggish sprawl of caustic crumbling guitars, the vocals barely audible, a haunting raspy growl way down in the mix, often just sounding like another buzzing bassline, hum and fuzz, dense and intense, all melted down into a viscous black crawl. Occasionally, the random bits of riffage and low end rumble coalesce into truly gorgeous harmonies, lovely and chordal, like some blackened church organ, but for the most part, this is the sound of guitar tones allowed to ring out forever and beat against each other, the air filled with oscillating overtones and strange tonal colorations, all beneath a patina of thick black buzz.
Amazing cover art as well, a gross out gutted worm picture disc, with a transparent skull and bugs insert on one side, and another sick silkscreened artwork overlay on the thick plastic sleeve, all courtesy of Mr. Seldon Hunt. Recorded live, in January of this year, in Holland. And of course, you had to know this part was coming: LIMITED TO 3000 COPIES!! And if it's anything like the other Burial Chamber record, it will sell out FAST." [Aquarius Records]
label: www.southernlord.com
|
2008 |
€15.00 |
|
| BURROUGHS, WILLIAM S. |
Häxan: Witchcraft through the Ages |
CD |
"The cult 1922 silent film, with 1968 narration by beat poet William S. Burroughs. Grave robbing, torture, possessed nuns, and a satanic Sabbath: Benjamin Christensen's legendary 1922 film uses a series of dramatic vignettes to explore the scientific hypothesis that the witches of the Middle Ages suffered the same hysteria as turn-of-the-century psychiatric patients. But the film itself is far from serious; instead it's a witches' brew of the scary, gross, and darkly humorous. In 1968, an abbreviated version of the film (77 minutes) was released. This version features an eclectic jazz score by Daniel Humair (played by a quintet including Jean-Luc Ponty on violin and Daniel Humair on percussion) and dramatic narration by William S. Burroughs. The artwork features great stills from the film. Daniel Humair, percussion. Bernard Lubat, piano organ. Guy Pedersen, double bass. Jean-Luc Ponty, violin. Michel Portal, sax, flute." [label info]
|
2014 |
€13.00 |
|
| |
Let me hang you |
LP |
Twenty years ago, William S. Burroughs was asked to record an audio version of his favorite parts of Naked Lunch. Longtime associates and producers Hal Willner and James Grauerholz produced several sessions, and they recruited a team of world class musicians to help. Famed for their Naked City involvement, Bill Frisell and Wayne Horvitz contributed their genius, as well as Eyvind Kang, just to name a few. The recordings were then abandoned and collecting dust on a musty shelf, as forgotten as a piece of rancid ectoplasm on a peepshow floor.
In 2015, Hal Willner decided to reopen this unfinished masterpiece and asked help from King Khan (a musician that he and Lou Reed admired and became fast friends with). Hal sent Khan all of the recordings and asked him to add his gris gris to this extremely perverted gumbo... and history was made and the scum began to rise!
King Khan recruited M Lamar, the creator of the "Negrogothic" movement and the identical twin brother of transgender actress Laverne Cox (Orange is the New Black), and The Frowning Clouds, a band of young Australian boys who have mastered the sixties garage punk sound -- and that perhaps WSB would have also enjoyed for other purposes a long time ago.
Let Me Hang You is a collection of depraved genius straight from the godfather of punk's very own mouth. If chills and thrills are what you seek, then look no further -- here is the bible of freakdom, recited by the pope of the underground... Now, pull the chair from underneath you and see what happens!
Produced by James Grauerholz, A. A. Khan & Hal Willner
Words by William S. Burroughs
Published by Nova Lark Music (ASCAP) administered by Songs of Virtual (North America) and Touch Tones Music (Rest of World).
Recorded and Mixed by Vera Beren, James Grauerholz, Wayne Horvitz, Eric Liljestrand, Robert Rebeck & A. A. Khan at Hairball IV Studio and Mercy Studio in Lawrence, KS, Wayne Horovitz's home studio in Seattle, WA, Eric Liljestrand's home studio in Venice, CA & King Khan's Moon Studios in Berlin, Germany.
Edited and Sequenced by Hal Willner
Reading from Burroughs’ novel, Naked Lunch, using an Abridgement edited by Nelson Lyon
Artwork by Michael Eaton & A. A. Khan
Mastered by Nene Barratto at PorcAudio, Berlin, Germany.
In loving memory of Nelson Lyon.
Music by Bill Frisell (Published by Friz-tone Music), Wayne Horovitz (published by Other Room Music), Eyvind Kang (published by Deformed Music, A. A. Khan (published by House of Hassle), Hal Willner, El Congo Allen, Nick Van Bakel & Reginald M. Lamar.
credits
released July 15, 2016
William S. Burroughs - voice
King Khan – guitar, bass, violin, VCS 3 Synthesizer, piano, organ & drums
Bill Frisell - guitar
Wayne Horvitz - keyboards
Eyvind Kang - violin, erhu & shani
El Congo Allen - Trumpet
Tony Sher -bass
Kenny Wollesen - drums
Jenny Scheinman - violin
Hank Roberts - cello
M Lamar - vocals
Hal Willner - samples & turntables
The Frowning Clouds:
Jake Robertson – Bass
Nick Van Bakel – Guitar
Zak Olson – Guitar
Daff Gravolin - Guitar
Jamie Harmer - Drums
https://khannibalism.bandcamp.com/album/let-me-hang-you
|
2016 |
€23.00 |
|
| BUTTIGIEG, KURT |
Sun Recordings |
CD-R BOX |
Konzeptionell so ziemlich das obskurste und originellste was hier in letzter Zeit ankam, von diesem inzwischen in Luxemburg (!) ansässigen Malteser (!) Künstler... „das Ergebnis von fast vier Jahren Nichts-Tun“... nur die gnadenlose Sonne brezelte auf einsame Tapes hinab und veränderte deren elektro-magnetisch aufgezeichneten Informationen.
3 Extrakte mit dumpfen Pulsationen und leicht sägende Summ-Drones, Staubsauger-Sounds, unterbrochen von Kratz- & Rauschattacken. 47 min n schöner Box mit sonniger Artwork.
“ „Sun Recordings" is a result of almost four years of doing nothing. I wanted to literally record the sound of the sun-in the same way that people want to feel a smell, look at a sound, or hear a vison. For these recordings, I took previously composed (very static) semi-electroacoustic pieces and transferred them to pre-recorded tapes that had been sitting in my desk drawer for ten years. I then left these out in the scorching Maltese sun for a duration of four years... When I got round to actually playing the sun-baked tapes, I had serious doubts that the sun would have had any noticable effect upon them---but to my amazement the sun's exposure had indeed produced a great effect on the tapes, decaying the sound and reforming harsh noises into violent bangs.” [artist info]
|
0000 |
€15.00 |
|
| 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 |
|
| |
WAR PUR WAR |
CD |
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.
https://butzmannkapielski.bandcamp.com/album/war-pur-war
|
2020 |
€16.00 |
|
| CAGE, JOHN |
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 |
|
| CAREY, DAN |
Shadowgraph |
mCD & object |
Second release on new SoundArt-label from Munich! Musik von dem Londoner DJ, Musiker & Filmemacher DAN CAREY, Artwork wieder von JUDITH EGGER.
„drawing (paper-lasercut) by Judith Egger, letterpress, in embossed case, printed by Stefan Feigl. shadowgraph - an x-ray through harmonics and melodics, inspired by the attempt of the inventor Nicolai Tesla to photograph
what was inside his head. Dan Carey´s shadowgraph is a dreamy journey through musical
patterns which cast long shadows caused by the light of a late afternoon sun.“ [publishing house info]
|
2004 |
€22.00 |
|
| CARTER, CHRIS |
Chemistry Lessons (CCCL Volume One) |
do-LP |
"Chris Carter’s Chemistry Lessons Volume One is populated with insistent melodic patterns and a distinct sense of wonderment at the limitless possibilities of science. “If there’s an influence on the album, it’s definitely ‘60s radiophonic,” Carter says. “Over the last few years I’ve also been listening to old English folk music, almost like a guilty pleasure, and so some of tracks on the album hark back to an almost ingrained DNA we have for those kinds of melodies. They’re not dissimilar to nursery rhymes in some ways.”
That combination of traditional music and the backing track for exciting, potential futures gives tracks like ‘Moon Two’ and ‘Tangerines’ a sheen of inquisitiveness and quiet euphoria, while ‘Modularity’ and ‘Roane’ have an anxious, sci-fi noir charm. Elsewhere skewed voices add a calming, human note to the album. Carter explains, “Sleazy and I had worked together on ways of developing a sort of artificial singing using software and hardware. This was me trying to take it a step further. I’ve taken lyrics, my own voice or people’s voices from a collection that I’d put together with Sleazy, and I’ve chopped them up and done all sorts of weird things with them.” These moments sit alongside tracks where melodies have a dissonant, noisy, awkwardness that ties the music on CCCL Volume 1 back to the Throbbing Gristle legacy.
As a founding member of Throbbing Gristle alongside Cosey Fanni Tutti, Peter ‘Sleazy’ Christopherson and Genesis Breyer P-Orridge, Chris Carter has had a significant role in the development of electronic music – a journey which has continued through his releases as one half of Chris & Cosey and Carter Tutti and a third of Carter Tutti Void – as well as with his own solo and collaborative releases.
He is also credited with the invention and production of groundbreaking electronics – from the legendary Gristleizer home-soldered effects unit through to the Dirty Carter Experimental Sound Generating Instrument and the sold-out TG One Eurorack module designed with Tiptop Audio (issued to commemorate the fortieth anniversary of Throbbing Gristle’s Second Annual Report) – Carter has created the means to make sounds as well as making the sounds themselves.
The 25-track album was recorded in Carter’s own Norfolk studio and the artwork and accompanying videos were self-created, taking cues in part from battered old experimental BBC broadcast LPs.
Despite having been worked on over an extended period between various artistic projects in a variety of different moods, situations and circumstances, CCCL Volume 1’s experiments never feel like Carter noodling around aimlessly in his studio-laboratory. Instead there is an inner coherence and a distinctively Chris Carter approach to sound and execution that showcases the sonic scientist’s restless, questing creative spirit forever scouting for new ideas." [Mute.com]
"Architect of the present future, Chris Carter goes retro hauntological on CCCL Volume One, his first solo album in 17 years.
Since his previous album, released in the last century, he’s been busy taking his influential duo with partner Cosey Fanni Tutti to a natural close, and likewise seeing thru their trio with Nik Colk Void, while at the same time diversifying his bonds with remixes of the contemporary field, from Factory Floor to Nisennenmondai and Perc. Here, however, the enormously pivotal artist paints a sonic self portrait indulging an unswerving thing for the BBC’s Radiophonic Workshop and the malleability of modular synths, all with a mixture of wide-eyed, youthful innocence and high end studio nous executed to nostalgic degrees.
In the classic framework of hauntology, Carter’s nostalgia is for a lost, assuaged or thwarted synthetic future he experienced explicitly and cosmotically growing up during the ‘space age’, when synthesisers were vehicles for interstellar and interdimensional travel and acted as the connective ligament of counter-cultural likeminds across the world, so its easy to understand why he can’t shake that feeling here.
Like a grown up kid with all the kit he could ever dream of, Carter brings his ideas to life in uniquely tactile style, working like a sculptor with broad palette of amorphous materials that continue to react and mutate after he’s fixed them in place, at his legendary studio in Norfolk. Each of the 25 tracks feels to offer a window onto worlds of encrypted kinetic energy, fulminating figments of the imagination which come to life in shapeshifting, plasmic forms made all the more “real” and hyperstitious thanks to his application of AI like vocaloids which populate the album, cropping up as alien sirens, glossolalic darkroom murmurs, and fully-fledged “singers” in their own strange right.
The result is a uniquely absorbing album tied together by Carter’s smart internal logic, a mazy manifestation of bio-electronic feedback systems that gives voice to the machine as much as the man operating it in a way that will really speak to followers of classic electronic music." [Boomkat]
|
2018 |
€26.50 |
|
| CASPAR BRÖTZMANN MASSAKER |
The Tribe |
LP |
"Southern Lord is proud to announce the first in a series of CASPAR BRÖTZMANN MASSAKER album reissues — beginning with the masterful debut The Tribe, originally released in 1988, and second album, Black Axis, originally released in 1989 — both remastered and presented as they were when originally released. After reissuing the first five albums, they shall later be made available in a collector’s boxed set complete with extensive liner notes, artwork by BRÖTZMANN, as well as a silkscreened print which will be hand numbered and signed by the artist. Full details of the series to be revealed in the coming months. CASPAR is also rumored to be working on brand new material.
CASPAR BRÖTZMANN is one of the most unique and innovative guitarists of the last forty years. With his Berlin-based trio MASSAKER, he evolved a whole new autonomous approach to writing rock songs, starting from sounds that were widely considered ornamental if not detrimental “sonic waste” such as shrieking feedback and droning overtones. This plethora of sounds were arranged into tracks to sound like breaking concrete, grinding metal, or bursting glass, at once monumental and threatening, impenetrable and hermetic, yet also archaically tender and loving.
Even today, as the art of noise has reached a level of sophistication that no one could have imagined thirty years ago, CASPAR BRÖTZMANN MASSAKER‘s music is resoundingly singular. Ultra-heavy riffs and beats, ominous tribal chants, and a raw physical force is conjured up by these three sinister and proud minds of their era. Their unhinged, unified stream of energy is captured on these remastered reissues and the results are thrilling.
Southern Lord will reissue CASPAR BRÖTZMANN MASSAKER‘s The Tribe on CD, LP, and digital platforms and Black Axis on CD, 2xLP, and digital platforms on January 18th, 2019. Watch for preorders to post shortly.
Born in 1962 in a post-war divided Germany, CASPAR BRÖTZMANN started out playing the piano, his main inspirations included, Hanns Eisler, singer Ernst Busch, his mother’s “Hausmusik” (German tradition where the family gathers to play their instruments together), and also by the roaring sounds of his father, a virtuoso saxophonist aka “The Teutonic Axe” – a key player in the European free jazz movement, Fluxus artist, and ideologically adamant communist.
CASPAR lived in fear and awe of his strict father, and he took to the guitar knowing that his father and his peers sneered at Americanized music, and especially electric guitars and the hard rock sounds that appealed to him, the likes of Ritchie Blackmore, Jimmy Page, and Jimi Hendrix. The guitar became, CASPAR says, “his shield against the unsettling world,” also nting, “It wasn’t about virtuosity, rather the love of the instrument.”
BRÖTZMANN didn’t have any formal training, but Hans Reichel — a family friend and an avant-garde guitarist who built his own instruments — showed him the ropes. Hans taught him how to manipulate the workings and mechanics of the guitar. CASPAR’s left-handed instrument is less of a nod to left-handed Hendrix and more of a technical improvement to his own playing, allowing for a stronger low end, better access to the volume control, and the vibrato bar, all of which gives CASPAR BRÖTZMANN MASSAKER‘s music an unparalleled dynamic range.
The Tribe was CASPAR BRÖTZMANN MASSAKER‘s first album. Recorded at Jost Gebers’ legendary jazz studio FMP in Berlin. To Gebers, who was far from being a fan of amplified music, BRÖTZMANN recalls, MASSAKER‘s music sounded “honest”. The iconic sleeve was designed by CASPAR BRÖTZMANN‘s father. Prior to this record, CASPAR honed his craft as a solo artist opening for the likes of Nick Cave. It is now reissued as it was originally released, remastered for LP and CD.
MASSAKER lineup for The Tribe:
Caspar Brötzmann – guitars/vocals
Eduardo Delgado Lopez – bass
Jon – drums
Julian Cope once stated that CASPAR BRÖTZMANN MASSAKER was, “The trio to end all power trios.” Like The Tribe, Black Axis was recorded at Jost Gebers’ FMP tudios in Berlin. Black Axis came to life in a rehearsal room so small with a ceiling so low that BRÖTZMANN, at nearly six-and-a-half feet tall, could barely stand up straight. The artwork was created by Brötzmann himself. The album is here reissued as it was originally release, remastered for 2xLP and CD.
MASSAKER lineup for Black Axis:
Caspar Brötzmann – guitars/vocals
Eduardo Delgado Lopez – bass
Frank Neumeier – Drums
https://southernlord.com/caspar-brotzmann-massaker-reissue-series-to-launch-in-january-2019-through-southern-lord-beginning-with-the-tribe-and-black-axis/
"Das fulminante Debüt des CASPAR BRÖTZMANN MASSAKERs aus dem Jahr 198/ - remastert. Die rohe Gewalt des Power-Trios wird von BRÖTZMANN in einer explosiven und exquisiten Beschwörung dirigiert, die HENDRIX'sche Schwingungen aufgreift und sie in eine harte deutsche Industrial-Atmosphäre versetzt."
|
2019 |
€18.00 |
|
| CAUDAL |
Fight Cry Fight |
LP |
Caudal's third album recorded at Golden Retriever Studios in Berlin by Simon Berckelman. Released on LP by Drone Rock Records and tape by Katuktu Collective. Cover artwork by Eoin Llewellyn. Mastered by John McBain.
www.dronerockrecords.com
katuktucollective.bandcamp.com
www.llewellyn.ie
www.facebook.com/caudaltrio
https://caudal.bandcamp.com/album/fight-cry-fight
|
2018 |
€18.00 |
|
| CELER & MACHINEFABRIEK |
Compendium |
CD |
"Late in 2011, Celer and Machinefabriek teamed up online and recorded the 7" 'Maastunnel/Mt. Mitake', to coincide with their tour in The Netherlands. They got the hang of it and decided to make it into a trilogy of 7" singles, all self-released in limited editions. Now, Irrational Arts has compiled the six tracks of the 7"s onto a CD‚ titled Compendium (Collected Singles and Remixes), including an additional new track by Celer and Machinefabriek, and remixes by Stephan Mathieu, Sylvain Chauveau and Nicolas Bernier. The artwork of the CD continues the design style of the singles, with collages of old Japanese cards and ephemera." [label info]
www.irrational-arts.co.uk
|
2015 |
€13.00 |
|
| CHALK, ANDREW |
The River that flows into the Sands |
LP |
Entirely handmade art edition, heavyweight card sleeve with tipped-on images, every copy features unique and original monotype artwork-printed by hand, no two copies are alike. 180 gramme clear vinyl with full-colour labels.
The strikingly radiant masterwork The River that Flows into the Sands receives its first vinyl airing thanks to the wonderful Faraway Press imprint. Exploring oneiric and ghostly guitar soundscapes, Andrew Chalk centers his attention on the guitar and develops a series of meditations that gives his music new depth. While all drone music has a drifting quality to it, The River that Flows Into the Sands is worthy of that description for a different reason. The expanses that normally come to mind when I listen to Chalk are gone on this album and replacing those images is a sense of continuous movement. The bowed instruments and contracting moans seem weightless and inconsequential, floating away into nothing, but leaving a path for other sounds to follow. Like a fountain each drone bubbles up and slowly fades away or evolves into a new drone and each time a sound disappears, there is a new voice there to replace it. Multiple listens will reveal, however, that Chalk really hasn't left that much silence on the record. That illusion is generated via the way Chalk mixes very distinct melodic features with fairly constant tones. As they move about together, a sense of space is opened up that may not actually exist. The effects are as real as possible, though, and there is little room for doubt that this one of the most unique albums in Chalk's discography.
[Soundohm]
|
2018 |
€30.00 |
|
| CHASSAGNARD, JEROME & JEREMIE MATHES |
Outer Dialog |
CD |
"with this release french artist jérôme chassagnard continues the concept work he began on the 2014 album 'inner dialog', a reflection of his personal and artistic mind. for the creation of 'outer dialog' jérôme decided to work with someone he musically and personally admired, a collaboration that perfectly symbolizes the change from acting as an introvert towards a more extroverted approach. for this reason he worked with musician, composer and good friend jérémie mathes. jérémie had already participated on 'inner dialog' and had a breadth of experience as a solo artist himself, and he was able to add a number of different musical points of view to jérôme's already detailed concept.
the music on this album is a logical continuation of its predecessor as well as conceptually expressing the other side of the coin: ambient electronica and shoegaze spheres counteract with intense rhythm-oriented idm textures while the sound is focused on extroverted beat patterns. a fascinating interaction between soothing beauty and stirring, powerful force.
'outer dialog' is intended as a partner to ‘inner dialog’, to meld both albums as one associated work, illustrated by a correspondent artwork style, typography, and an identical number of tracks. an engaging opus which captures every bit of your attention - captivating music with an edge."
https://hymen-records.bandcamp.com/album/outer-dialog |
2020 |
€6.00 |
|
| CHOPIN, HENRI / PAN SONIC / ACHIM WOLLSCHEID |
Composition I |
CD |
SO macht Globalisierung Spass! Wer hätte das gedacht? Das französische Ur-Tier der sound poetry HENRI CHOPIN (3 Stücke) zusammen mit den finnischen Avantgarde-Elektronikern PAN SONIC und dem deutschen Konzeptkünstler auf EINER CD, das alles auf dem japanischen Label von KOUHEI. Herausragend ist dabei das 22 minütige „Kumamoto osterit“ von PAN SONIC, ein regelrechtes elektro-akustisches Opus !
“Fascinating three-way split CD with about 20 minutes of material from each artist. Mostly minimal, concrete sounds with occasional louder parts, makes for a smooth deep listening experience. Artwork by Tatsuo Ikeda.“ [Someplaceelse]
|
2005 |
€13.00 |
|
| CHORE IA |
Postscriptum |
do-CD |
https://zoharum.bandcamp.com/album/postscriptum-neogolizmowa
It's a new album by Jacek Wanat aka CHORE IA, released in cooperation with Antenna Non Grata. "Postscriptum" brings five long compositions, which are an extension of the style that was outlined on previous publications. It is a resultant of drone, ambient with elements of experimental electronics. The album, although it sounds very fresh, is kept in the spirit of music from Obuh Rec. We are dealing here with compositions with a slightly poetic character, building a contemplative atmosphere, sometimes taking on a slightly somnabulistic, even ethereal form. This edition has been enriched with the second disc "Neogolizmowa", containing material from both cassettes and a few bonuses from the same period. 2CD edition in a 6-panel eco-pack with artwork, based on Jacek Wanat's graphics and paintings.
Recorded at Studio Czad
Bass, Cello, Voice, Electronics, Other sound objects by Jacek Wanat
Cover artworks by Jacek Wanat
Design by Maciej Mehring
Music & lyrics by Jacek Wanat
"Postscriptum" was recorded at home in Konin
"Neogolizmowa" was recorded by Sławek Mizerkiewicz in Studio CZAD, Swarzędz, October 19, 1994 (cassette released by OBUH Records in 1995)
CD2 contains also 2 additional tracks from 1995 and 3 bonus tracks recorded in the twenties of this century.
cooperation coordination :) Marcin Olejniczak
"Chore IA is the brainchild of philosopher, bassist and avant garde rock enthusiast, Jacek Wanat. Originally releasing material as far back as 1995, Wanat spent many of the intervening years making music with Radek Dziubek, Tomek Maliński and Waldek Paziewski in the band Blimp before eventually returning to his earlier project in 2018 with the album Schizophrenia. Spread across two CDs the latest Chore IA album, Postscriptum / Neogolizmowa is an unabashed festival of weird ambient electronica. The first disc, Postscriptum, is made up of 5 long pieces of psychedelic ambient drone, whilst the second disc, Neogolizmowa, is made up of previously released material, including tracks from the two cassettes that were released on OBUH records, as well as other material taken from that same period.
The opener on disc one is I’m Waiting for Nothing to Happen, an experimental psychedelic experience featuring drones and some spoken words. It’s a great opener and really hammers home the wyrd electronic aspect of the albums sonic core. I Die/ Respirateur is an epic 17-minute drone piece that features a plethora of creaky atmospheric found sounds that give the whole piece an unsettling, creepy vibe. The shorter Revers is at times prettier in feel, however there remains something slightly unsettling about the track that you just can’t pin down. They Say Nothing/ Ils Son Morts follows and takes us further down the wyrd experimental pathway that started with the album opener. Intense, with a sinister vibe, there is a lot more going on here that will keep the listener hooked on future plays as thing start to unravel and you start to pick out the different instrumentation that is going on. The final track on disc one is I’m Raining, it sounds almost like a partner piece to the album opener, bookending what is pretty much an intense musical experience.
Disc two features sixteen tracks and sounds quite different to the first. Firmly rooted in rock music, as opposed to electronic drone, this disc is best described as avant-garde rock weirdness, with a little bit of experimentation with drones and electronics. The key is that there is much greater emphasis on traditional rock instruments, drums, guitars, and keyboards as well as a greater emphasis on melody. It does however, make a really interesting accompanying disc as it hints at Wanat’s musical roots prior to releasing Postscriptum.
Overall, this is a really nicely presented set of interesting experimental music that spans Jacek wanat’s career, acting something like a compilation highlighting the evolution of his music. Disc One is my favourite, featuring some really strong psychedelic drones, peppered with found sounds and smothered in general weirdness. It’s a far darker affair than disc two, but it has to be said they both complement one another well, despite representing different sides of the same artist. This release from Zoharum also looks fabulous with some rather lovely digipak artwork housing the two CDs. This is a great slab of weird electronic drone that should find favour with fans of creepy atmospheric horror drones as well as fans of avant garde rock." [Musique Machine] |
2023 |
€16.00 |
|
| CINDYTALK |
In this World |
CD |
Nach "Camouflage Heart" von 1984 verschwanden CINDYTALK für vier Jahre in der Versenkung, die sie allerdings damit verbrachten, das epische Nachfolgewerk "In This World" zu schreiben und aufzunehmen. "In This World" erschien als zwei separate Vinyl LPs, die beide "In This World" betitelt, aber mit verschiedenem Cover Artwork ausgestattet waren. Die Neuauflage erscheint als Doppel-Vinyl oder einfache CD.
"In This World" is a noble venture. It's every inaccessible racket you could imagine but creeps gently in on the delectable title instrumental before kicking you in the navel with a hybrid broth of Motorslug, Swans, Red Lorry Yellow Lorry, and generally alienating cacophonies." [Chris Roberts (Melody Maker)]
" So the rumor goes that Gordon Sharp was invited to join Duran Duran after Sharp dissolved his Edinburgh glam-punk band The Freeze in the late '70s. He turned them down. Elizabeth Fraser and Robin Guthrie also put out the request for Sharp to join the Cocteau Twins. After a brief stint accompanying the Cocteau Twins for a Peel Session in 1982 and a guest spot on This Mortal Coil's It'll End In Tears, he opted for his own project -- the obscure, yet majestic Cindytalk.
In This World is an opus in every sense of the word. Originally, In This World came out in 1988 as two separate albums under the same name, each with slightly different artwork. One album, a masterpiece of abject post-punk that in all honesty is the closest parallel to Swans' Children Of God; the other, a delicate ambient construct of melancholy piano scarred with surface noice prognosticating pretty much everything that Type Records has released (e.g Machinefabriek, Jasper TX, etc.). It's very good thing that both of these albums have been repackaged into one self-contained object, as the only half of In This World that seemed to be floating around was the piano-laced ambient one. As good as that half is, you need the grit and dirge of its companion album to complete Cindytalk's ideas of grand dualities: heaven / hell, pleasure / pain, holiness / transgression, etc.
While billed by Sharp as the 'disgusting' part of the In This World diptych, the first half begins with a lovely tonefloat of scratched violin drones and painterly piano notes. Yet, with the crushing rhythm and noise attack of "Janey's Love," Sharp does not disappoint with his disgusting tag. This is a monstrous industrial dirge with huge monotone slabs of distortion and atonal drones counterpointing Sharp's soaring falsetto. The punk poet Kathy Acker supplies a brief spoken word interlude as the coda to this incendiary number. Immediately hereafter, Cindytalk continue their turgid rhythmic marches with an angular distorted rhythm, slippery bassline mired in audio rust, and twin guitars spitting acid, fire, and brimstone on such tracks as "Gift Of A Knife" and "Circle Of Shit." As the first half of the album progresses, the songs steadily disintegrate as rhythm, song structure, and noise all collapse into a blur of smeared grey that is eerily reflective of William Basinski's Disintegration Loops. The piano which opened In This World becomes
the dominant sound in Cindytalk's soundscapes, also marking the delineation between the two halves of In This World. Yes, this is the
beautiful side of Cindytalk, coated in ash, snow, bruises, and rust. Gordon Sharp's piano playing comes from Brian Eno's Thursday
Afternoon, which in turn came from Erik Satie; and that impressionist sentiment continues forward amidst subterranean drones and field
recordings of barren spaces. Sharp's voice is mostly absent from these tracks, although the eponymous finale to the album showcases
one of Sharp's most emotive croons. They really don't make albums like this any more, with such attention to detail and dynamics between rage and beauty.
Fortunately, both of these records were concise enough that they could both fit onto one CD; and if you've not had the opportunity to hear Cindytalk, please do not let this album and its predecessor Camouflage Heart pass you by!" [Aquarius Records review]
|
2007 |
€14.00 |
|
|
Up here in the Clouds |
CD |
"Recordings by Gordon Sharp 2003-2010 at the mid-levels (hk) by mainly at roi vert, Okamoto, Japan. Up here in the clouds is the second installment in the new Cindytalk sound wich started last years The Crackle of my soul. Whereas Crackle was more of a blistering burner, Clouds has a fresher cooler sound to it, with longer tracks that slowly evolve in great patches of aural beauty. The sound that Gordon Sharp and co create now is unique blend of cracked electronics, near awkward ambient textures that always seem to flow smoothly like the most natural sounds around, building up a great set of modern electronic music which closes with the child like melody of the title track. Superbly packaged with new David Coppenhall artwork in a 4-panel digipack."
[label info]
www.editionsmego.com
|
2010 |
€13.50 |
|
| |
Hold Everything Dear |
do-LP |
"All tracks written and recorded by Gordon Sharp and Matt Kinnison between 2006-2011 at Roi Vert, Okamoto (Japan), 13th Floor and Space Eko (London), Southend (Essex). Mastered at Piethopraxis, June 2011. Cut by Rashad Becker at Dubplates & Mastering, Berlin, June 2011. Design-images: David Coppenhall. Assembled at Sixism (Maggi Smith-David Coppenhall). For Matt Kinnison and John Berger.
'Hold Everything Dear' is the third installment in the new Cindytalk sound which started with 2007's The Crackle Of My Soul, and then last years Up Here in The Clouds. Its the first in the trilogy to feature musicians other than Gordon Sharp namely the late Matt Kinnison, to whom the album is dedicated. Inspired by the John Berger book of the same name, this latest release is whole new set of parameters which push the sound on the previous two works to an extreme point of abstraction, and in some places near silent passages and haunted melodic segments. And what a mysterious journey this ends up being with increased use of piano and found/field recordings giving all the tracks a blurry soundtrack appeal to the point where the definitions between the tracks are no longer clearly defined. It harks back to the odder parts of In This World and The Wind Is Strong albums from the early 1990s. Superbly packaged with new David Coppenhall artwork in a 4-panel digipack and gatefold vinyl sleeve." [label info]
www.editionsmego.com
|
2011 |
€20.00 |
|
| CIRCLE |
Soundcheck |
CD |
"Recorded in Finland in October 2009, the band describes Soundcheck as “the most contemporary document possible of a Circle soundcheck/concert experience. For this concert Circle was reinforced by the guitars of J. & P. Jaaskelainen, who may be familiar to some from the ranks of Circle’s brother-in-arms Pharaoh Overlord. On the album, this expanded line-up explores the experimental possibilities of concert staples “Virsi” and “Nopeuskuningas” further than possibly ever before.”
“The first part offers two new tracks, beginning with the brief “Kukkakaalia Kapteenit!”, a wispy swirl of shimmery synths, laid back tribal drumming and some dramatic, emotional crooning, very cinematic sounding, almost like it could be some lost 4AD single, dreamy and ethereal, giving way to the way more rocking and intense “Tuhatsata”, which takes up most of the side, a slow burning, blackened bit of Finnish krautrock, super epic, with dueling vocals, crooning versus grunted and growled, fusiony keys, still more tribal drumming, spidery guitars, the track pulsing and pounding, building to multiple crescendos, frenzied freakouts that always lip right back into more looped mesmer.
The album progresses with two instantly recognizable live set staples, first up, “Virsi”, dramatically progtastic, with that super soaring epic intro, all dynamic shifts and huge bursts of instrumental crunch, with vocals howling and wailing almost operatically, before lurching into some rad atonal krauty, fusiony, jazzy, hypno groove skitter. The second track, another Circle classic, and live staple, “Nopeuskuningas”, explodes right out of the gate, with its chugging almost surfy, ZZ Top-ish boogie riff, locked in groove, the whole thing stretched out over the remainder of the side, the band solid, and hypnotic, and intense, and rocking and tight as fuck. Their showstopper for sure, and it clearly did the job at this show as well.
In so much as between albums, Circle, like Grateful Dead, crank out killer live record after killer liver record, often with some of the same songs, always including a few live staples, familiar enough to hit the spot, but different enough that a Circle fan could be forgiven for needing them ALL!” (Aquarius Records)
A stunning and truly unique live album approach by the Finnish masters of hypnorock and unusual sounds.
Originally released as a very limited vinyl edition via J. Lehtisalo’s own imprint Full Contact Records and instantly sold out, Soundcheck is now back to life housed in our luxurious, heavy tip-on mini-LP gatefold packaging featuring fantastic expanded photography and artwork by Jussi S. Karjalainen. Limited edition of 800 copies.
|
2011 |
€13.50 |
|
| CISFINITUM |
VS (Curve/Curse) (SOLD OUT) |
7" |
From the strong post-industrial scene of Moscow, the duo CISFINITUM is a well
known name since many years but unfortunately had very few releases so far...
We are proud to offer “VS” which presents them at their most refined & intense point of their career. Two thunderous & emotionally stirring tracks; post-apocalyptic landscapes of sounds like watching an eerie painting consisting of earthquakes cracking out fierce drones. Disoriented even more with background voices, metal-banging and more concrete mechanical sounds of unknown origin. Absolutely intense and mind-blowing! This EP is one of the most impressive handmade cover-artwork ever seen in the Drone-series: a nearly 2 inch thick hand-sewed black & grey stripped wool-cover; each one is numbered and comes with a
CISFINITUM cardboard-sign on it.
~ Filed under: post-apocalyptic drones ~
BLACK VINYL WITH WHITE & GREY STRIPES.
ULTRA-HANDMADE WOOL-COVERS, NUMBERED.
|
2004 |
€6.50 |
|
| |
Tactio |
CD |
Mitschnitt des denkwürdigen CISFINITUM-Konzerts im Bremer St. Petri-Dom vom 24. November 2005, welches v.a. durch die Verwendung monumentaler Kirchenglocken-Drones besticht (Aufnahmen einer russischen Kirche basieren); es fand statt im Rahmen der REIHE ELEKTRONISCHER MUSIK ("Rapid Ear Movement"), kuratiert von CHRISTOPH OGIERMANN.
"CISFINITUM ist eines der am längsten bestehenden Moskauer Industrial / Experimental/ Elektronik - Projekte (Gründung 1989) und steht für die russische Variante des sogenannten „ambient Industrial“, „drone“ oder „dark ambient“. Als „dark ambient“ bezeichnet man in der neueren elektronischen Musik seit einigen Jahren die „dunkle“ Seite der atmosphärisch-experimentellen Musik, bei der es oft weniger um den explizit Ablauf der Komposition geht, als vielmehr um die Schaffung „bewusstseinsverändernder“ Atmosphären mit Hilfe von Klang. Hinter CISFINITUM steckt Evgueny Voronovsky, ein ausgebildeter Violinist, der neben konkreten und instrumentellen Klangquellen auch alte sowjetische Synthesizer in neuem Kontext benutzt (wie auf der letzten CD-Veröffentlichung „BEZDNA“ [Monochrome Vision]), z.B. den legendären ANS. CISFINITUM (=„Jenseits des Endlichen“) ist ein Text & Begriff des russischen Dichters Daniil Charms, der für die „Logik der unendlichen Nicht-Existenz“steht: das was hinter dem Verstandesmässigem liegt. Die Endlichkeit der logischen Welt wird durch die Logik selbst nachgewiesen." [Konzertankündigungs-Info Drone Records]
"With a parsimonious discography mostly released on seasoned Russian labels such as Waystyx, Ewers Tonkunst and Monochrome Vision, Evgeny Voronovsky has established himself as an uniquely engaging artist in the country's current ambient scene. Under the name of Cisfinitum, he has taken a syncretic approach to an often codified genre, uniting his formal training as a violinist at the Moscow State University with his affinity for concrete sounds and experimental structures. Past releases have shown a capacity to synthesize these factors at times while emphasizing the contrasts between them at others, sometimes over the course of a single track. In this aspect, this album follows the tradition faithfully.
Tactio is the live recording of a Cisfinitum concert at the St. Petri Dom (St. Peter's Cathedral) in Bremen, on November 24, 2005. The particular (and as expected highly favorable) acoustics of this environment were consistently used not only as an enhancing effect but as an integral foundation for the performance, making it unmistakeably tied to its context. Presented in the form of six continuous tracks, the album is a contemplative composition of vibrant drones, reverberating bells and synthesized resonance, gracefully evolving from the celestial tones of its start to the tellurian pulses of its climax. This is a piece of work that is elaborate in its simplicity, and it's with much appreciation that it is presented here today. The beautiful iconic artwork by Evgeny Kuprienko further emphasizes the relic-like qualities of this recording."
[label description]
www.mechanoise-labs.com
|
2008 |
€10.00 |
|
| CISFINITUM & FIRST HUMAN FERRO |
Alchemicals (re-issue) |
CD |
A limited re-edition of Cisfinitum & First Human Ferro "Alchemicals" / Old Captain (OCCD06 (2012)) with the additional original material recorded in 2010-2011 by Oleh Koliada and Eugene Voronovsky featuring Mykhail A.Shukh, James Thirlwell (Foetus), Sergei Letov, Thierry Jolif, and Peter Smirnov. A masterpiece of the modern classical style in an existential avant-garde electronic genre. A glass mastering CD pressing in Italy in a limited to 50 4-Panel Digipak + 2 A3 Posters (available only from the label). The artwork is courtesy of Bronisław Linke's 1946-1958 series "Screaming Stones", "Atomium" and "Radioactive Dust". Artwork design by Mauro Berchi. In memory of Mykhail A.Shukh (1952 - 2018).
https://oldcaptain.bandcamp.com/album/first-human-ferro-cisfinitum-alchemicals
|
2021 |
€13.00 |
|
| CLEW OF THESEUS |
Meridian |
CD |
"This album shows a projection and further maturity in Clew Of Theseus’ sound. Meridian is a dark and esoteric album, very focused, full of sounds at once harsh and ambient, with forceful drones and rich textures. Sounds were created with acoustic winds, electric guitar, analog and junk synthesizers and gritty electronics, mixed to create a foreboding atmosphere. The album was mastered by Timothy Stollenwerk at Stereophonic Mastering, best known for his work on dozens of Daniel Menche albums. Meridian was recorded in two weeks during the monsoon season of 2008. A careful study into the symbols inside the album show an obsession with elemental force and eternal power. Clew Of Theseus evokes images of furious storms, wiping the landscape of blight, bringing beautiful darkness in its wake. CD packaged in standard jewel case with full-color artwork." [label info]
www.catharticprocess.com
|
2009 |
€12.00 |
|
| COH |
To beat |
CD |
"Recorded May 2013 - January 2014. All music and lyrics by Ivan Pavlov / COH. Picking up right where the last track on the previous COH release RETRO-2038 left off, the new album is focused on the use of beats within the similar aesthetics. While most of the previous COH records openly shy away from accentuated beat structures and instead build up their rhythmical content by layering waves and pulses, every track on To Beat is padded with just that - beats. The music transition is illustrated in the album's artwork, displaying transformation of a sine-wave, a tone, into a waveform which is beat. This mathematical progression is made audible in the album's opening track Wave To Beat. The rest of the album, however, steers clear from dull math and presents the beats in their more traditional context of what could be referred to as adventurous dance music, taking the listener through various examples of beat use with the sense of playfulness and joy. The final piece, Beat to wave, wraps it up by dissolving a simplistic post-techno piece into a tonal chord. This brings back the album's main idea, where tone and beat are essentially one and the same, like vowels and consonants in a language, like Yin and Yang in music." [label info]
www.editionsmego.com
"I enter the airlock of TO BEAT: an isolated zone away from the logic and consequence of a linear life, where rebellion and transformation materialise in time and then dissipate into the files of forgotten memory. The opening track tracks the compression of a constant sine tone into sharp punctuations of beat – dynamic curvature compacts into sheer right-angles. For the following 45 minutes, the eternal, fluid unwind of being is chopped up into square and unambiguous blocks of rhythm; life pixelates momentarily, and the endless string of insatiable curiosity becomes a finite ribbon of understanding I can hold in my hands. Once it’s over I shall never speak of it again, taking the airlock out the other side via “BEAT TO WAVE”.
The album’s interior is a strange emulation of dance music. The melodies are tangible and thick – riding 4/4 like an unforgettable congregative chant (it feels somewhat Eastern at points, although I feel ignorant thinking that) – yet the beat emphasis falls in eerie places, causing my body to jut out in a series of unnatural angles. It’s an inhuman sound but far from clinical, and while the combination of hum and pulse evoke a sort of chorus of stable spacecraft monitoring equipment, none of these tracks are sheened with mathematical precision; there are bubbles of warm mid-frequency and the sliding voices of alien worship, placing TO BEAT in an error void between abstract calculation and the music of corporeal organisms.
There are moments that fling themselves into the lust of nightclub strobes: the sterile pump of blood around a dancefloor, puppeteered by rhythms that speak to the instinct to move. For instance, “ungear moi” sends the drip of neon sweat into half-time as rave synthesisers flit between subterranean corners like lasers, or perhaps surveillance cameras. And then there’s “Moonviewhigh”, whose mixture of major-key colour and geometric certainty depicts it as a Rubik’s cube rotating in front of my face – a flicker of squares in digital contrast, punctuated by a sloping reverb that mockingly emulates the spaces that exist beyond TO BEAT’s four titanium walls. It’s a simulated reality, and to step inside is to subvert gravity and co-ordination for just a short while." [ATTN:Magazine] |
2014 |
€13.50 |
|
| COIL |
Musick to play in the Dark |
CD |
Few groups in recent history forged as confounding and alchemical a body of work as Coil, the partnership of Peter 'Sleazy' Christopherson and John Balance. From album to album and phase to phase their recordings spelunk perplexing depths of esoteric industrial, occult electronics, and drugged poetry, both embodying and alienating parallel currents of their peers. The late 1990's in particular were a fertile era for the duo, embracing chance, chaos, and collaboration, enhanced by recent advancements in synthesis and sampling. Fittingly, at the summit of the decade's long, intoxicated arc, their divergent strains of interstitial ritual congealed into one of Coil's most celebrated and hallucinatory creations: Musick To Play In The Dark.
Convening at Balance and Christopherson's vast Victorian house / studio in the coastal town of Weston-super-Mare, they began a series of ambitious sessions aided by inner circle associates Thighpaulsandra and Drew McDowall. Although the creative process was admittedly “iterative” and “a bit of a drug blur,” the results are astoundingly inventive and well realized, winding through shades of divination dirge, wormhole kosmische, noir lounge, ominous humor, and black mass downtempo, guided by Balance's cryptic lunar muse, which he announces on the opening track: “This is moon musick / in the light of the moon.”
What's most remarkable about the album 20 years after its release is how brazen, insular, and unpredictable it still feels. The songs follow an allusive, altered state logic all their own, warping from microscopic ripples of glitch and breath to widescreen warlock psychedelia and back again, as much hyper-sensory as inter-dimensional. Even within a catalog as eclectic as Coil's, Musick is a mystifying collection, oneiric evocations of desire, decadence, dinner jazz, and dietary advice, far beyond the pale of whatever gothic industrial ambiguity birthed such a journey.
The record closes with a slow, starlit shuffle, bathed in seething sweeps of spectral texture and high cathedral keys, like approaching the altar of some arcane temple. As the trance thickens Balance's voice rises, processed into an increasingly eerie, gaseous haze, but he resists these unseen forces, intent on delivering a final sermon: “Through hissy mists of history / the dreamer is still dreaming / the dreamer is still dreaming.”
Reissued for the first time in over 20 years, now on double vinyl LP with the complete, unedited versions of each song and an exclusive "D-side" vinyl art etching. Packaged in a sturdy matte jacket with embossed lettering and spot-gloss design elements. The compact disc version mirrors this design, and comes housed in thick tip-on "LP style" package. Both formats are completely remastered by engineer Josh Bonati with restored artwork and layout by Nathaniel Young - all under the project supervision of Drew McDowall and Thighpaulsandra.
https://www.daisrecords.com/products/coil-musick-to-play-in-the-dark
|
2020 |
€15.00 |
|
|
Musick to play in the Dark (yellow vinyl) |
do-LP |
"Few groups in recent history forged as confounding and alchemical a body of work as Coil, the partnership of Peter 'Sleazy' Christopherson and John Balance. From album to album and phase to phase their recordings spelunk perplexing depths of esoteric industrial, occult electronics, and drugged poetry, both embodying and alienating parallel currents of their peers. The late 1990's in particular were a fertile era for the duo, embracing chance, chaos, and collaboration, enhanced by recent advancements in synthesis and sampling. Fittingly, at the summit of the decade's long, intoxicated arc, their divergent strains of interstitial ritual congealed into one of Coil's most celebrated and hallucinatory creations: Musick To Play In The Dark.
Convening at Balance and Christopherson's vast Victorian house / studio in the coastal town of Weston-super-Mare, they began a series of ambitious sessions aided by inner circle associates Thighpaulsandra and Drew McDowall. Although the creative process was admittedly “iterative” and “a bit of a drug blur,” the results are astoundingly inventive and well realized, winding through shades of divination dirge, wormhole kosmische, noir lounge, ominous humor, and black mass downtempo, guided by Balance's cryptic lunar muse, which he announces on the opening track: “This is moon musick / in the light of the moon.”
What's most remarkable about the album 20 years after its release is how brazen, insular, and unpredictable it still feels. The songs follow an allusive, altered state logic all their own, warping from microscopic ripples of glitch and breath to widescreen warlock psychedelia and back again, as much hyper-sensory as inter-dimensional. Even within a catalog as eclectic as Coil's, Musick is a mystifying collection, oneiric evocations of desire, decadence, dinner jazz, and dietary advice, far beyond the pale of whatever gothic industrial ambiguity birthed such a journey.
The record closes with a slow, starlit shuffle, bathed in seething sweeps of spectral texture and high cathedral keys, like approaching the altar of some arcane temple. As the trance thickens Balance's voice rises, processed into an increasingly eerie, gaseous haze, but he resists these unseen forces, intent on delivering a final sermon: “Through hissy mists of history / the dreamer is still dreaming / the dreamer is still dreaming.”
Reissued for the first time in over 20 years, now on double vinyl LP with the complete, unedited versions of each song and an exclusive "D-side" vinyl art etching. Packaged in a sturdy matte jacket with embossed lettering and spot-gloss design elements. The compact disc version mirrors this design, and comes housed in thick tip-on "LP style" package. Both formats are completely remastered by engineer Josh Bonati with restored artwork and layout by Nathaniel Young - all under the project supervision of Drew McDowall and Thighpaulsandra."
https://www.daisrecords.com/products/coil-musick-to-play-in-the-dark
|
2020 |
€32.00 |
|
|
Musick to play in the Dark (black vinyl) |
do-LP |
"Few groups in recent history forged as confounding and alchemical a body of work as Coil, the partnership of Peter 'Sleazy' Christopherson and John Balance. From album to album and phase to phase their recordings spelunk perplexing depths of esoteric industrial, occult electronics, and drugged poetry, both embodying and alienating parallel currents of their peers. The late 1990's in particular were a fertile era for the duo, embracing chance, chaos, and collaboration, enhanced by recent advancements in synthesis and sampling. Fittingly, at the summit of the decade's long, intoxicated arc, their divergent strains of interstitial ritual congealed into one of Coil's most celebrated and hallucinatory creations: Musick To Play In The Dark.
Convening at Balance and Christopherson's vast Victorian house / studio in the coastal town of Weston-super-Mare, they began a series of ambitious sessions aided by inner circle associates Thighpaulsandra and Drew McDowall. Although the creative process was admittedly “iterative” and “a bit of a drug blur,” the results are astoundingly inventive and well realized, winding through shades of divination dirge, wormhole kosmische, noir lounge, ominous humor, and black mass downtempo, guided by Balance's cryptic lunar muse, which he announces on the opening track: “This is moon musick / in the light of the moon.”
What's most remarkable about the album 20 years after its release is how brazen, insular, and unpredictable it still feels. The songs follow an allusive, altered state logic all their own, warping from microscopic ripples of glitch and breath to widescreen warlock psychedelia and back again, as much hyper-sensory as inter-dimensional. Even within a catalog as eclectic as Coil's, Musick is a mystifying collection, oneiric evocations of desire, decadence, dinner jazz, and dietary advice, far beyond the pale of whatever gothic industrial ambiguity birthed such a journey.
The record closes with a slow, starlit shuffle, bathed in seething sweeps of spectral texture and high cathedral keys, like approaching the altar of some arcane temple. As the trance thickens Balance's voice rises, processed into an increasingly eerie, gaseous haze, but he resists these unseen forces, intent on delivering a final sermon: “Through hissy mists of history / the dreamer is still dreaming / the dreamer is still dreaming.”
Reissued for the first time in over 20 years, now on double vinyl LP with the complete, unedited versions of each song and an exclusive "D-side" vinyl art etching. Packaged in a sturdy matte jacket with embossed lettering and spot-gloss design elements. The compact disc version mirrors this design, and comes housed in thick tip-on "LP style" package. Both formats are completely remastered by engineer Josh Bonati with restored artwork and layout by Nathaniel Young - all under the project supervision of Drew McDowall and Thighpaulsandra."
https://www.daisrecords.com/products/coil-musick-to-play-in-the-dark |
2020 |
€30.00 |
|
|
The Ape of Naples |
3 x LP set |
"The Ape of Naples" is a deeply emotional and uniquely rewarding album. In its immediate accessibility it is somewhat reminiscent of Coil's mid-1980s classic "Horse Rotorvator" sharing that album's wild variety of sounds and styles as well as its overriding sombre mood. Originally released in 2005 and in many ways the band's ultimate swan song, it is now considered one of the go-to albums for introducing new listeners to the unparalleled magick of Coil. Compiled and released by Peter Christopherson one year after Jhonn Balance's tragic deadly fall, it includes reworkings of the live favourite "Amethyst Deceivers" and "Love Secret's Domain"'s "Teenage Lightning" as well as several songs originally intended for the ill-fated "Backwards" album like the haunting and preminiscent "Fire of the Mind" and the superb "Amber Rain". Other tracks were created using unfinished song ideas from around "Backwards", sampling tiny bits of Balance's live vocals from songs only ever performed in concert once like "Triple Sun". Using the lyrics of the theme tune for the 1970s BBC sit com series "Are you being served?" for the unbelievably haunting "Going up", this album's final track and the last song Coil ever performed live, is maybe the most poignant example of Balance's and Christopherson's method of turning base matter into pure sound gold, and like the title of the album, derived from an imaginary adult video an equally fine example of the often underappreciated humour of the boys.
Christopherson with the help of long-term sound wizard Danny Hyde and using some of the talent of Coil touring members managed to craft an album which feels and flows like a true Coil classic.
The Infinite Fog version is the third Coil record receiving the fully remastered and enhanced 3LP/2CD treatment supervised by Danny Hyde.
All of the original material has again been carefully and sympathetically remastered by Grammy-nominated engineer Jessica Thompson who has been previously lauded for her splendid job on its sister release "The New Backwards". Coil fans old and new will be thrilled over the inclusion of more than an hour's worth of 9 rare and largely unheard bonus tracks from Danny's vaults completing the set. The astounding design of the original box-set release is restored for the gatefold 3LP sleeve using the fully-licensed artwork by Ian Johnstone (making it easy to differentiate this new vinyl version from previous un-sanctioned LP releases using poor reproductions of the original CD art for the front cover), the CD will be available in two versions with the original and well-loved original CD cover art and for the first time using the former vinyl-only cover art.
If you do not yet own a physical copy of the "Ape of Naples", or if you always wanted an enhanced version of this masterpiece, there has never been a better time to make that wish come true.
Written & Produced by Coil & Danny Hyde.
Mastered by Jessica Thompson.
Front artwork by Ian Johnstone.
Artwork licensed from The Estate of Ian Johnstone.
Layout Oleg Galay.
https://infinitefog.bandcamp.com/album/the-ape-of-naples
|
2022 |
€46.00 |
|
|
The New Backwards (extended edition) |
do-CD |
"The New Backwards" was conceived by Peter "Sleazy" Christopherson in 2007, revisiting stray tracks which hadn't seemed to gel with the material he had chosen for the more somber "Ape of Naples" from 2005, COIL's initial posthumous release, a sort of requiem and a kiss-goodbye to his then recently deceased partner John Balance.
Significantly different to its sister release, this album collects the brilliantly chaotic and outrageously rhythmic material from the original sessions for the album that was begun as early as 1993 and had originally been conceptualised as the follow-up to "Love's Secret Domain". These songs are as diverse and wild as the places they originated from, partly infamously spawned in Sharon Tate's former home in the Hollywood Hills, the Nine Inch Nails home base in New Orleans and London's Swanyard, co-composed, remixed and restructured with the help of long-term friend Danny Hyde in Thailand, this collection has its own unique flow and an atmosphere not found on any other COIL release.
Both "AYOR" and "Backwards" had by the time the album was first released already become favourites in COIL's manic live performances. Some of the other tracks had only leaked in demo versions and are here presented updated and polished as Christopherson and Hyde intended them to be heard. It is interesting to consider Balance's vocal contributions, too. Whilst on the albums COIL did release at the time this material was first put aside ("Black Light District" and "ElpH") his voice is all but absent, his vocal performances and his lyric writing here are arguably more closely indebted to the previous "Love's Secret Domain" era, especially the epic "Copacaballa" is noteworthy in that respect.
The New Backwards" effectively became the final official COIL studio release of all new material whilst Peter was still alive and is here presented for the first time fully supervised by Danny Hyde, its co-creator.
The stunning cover uses a detail from artist Ian Johnstone's "Cubic Raven" painting, licensed from the estate of IJ..
It is high time to rediscover this timeless album with the Infinite Fog release, first time available on vinyl in its full form without 3 skipped tracks! Besides that boasting nine further tracks of previously unheard material from the same sessions, rough working stages and surprising remixes which will surely delight the dedicated COIL archaeologists, as they shine yet another light on the creative process and on what could have been.
credits
released March 30, 2022
Recorded at Swanyard, London and at Nothing Studios, New Orleans, 1996.
Thanks to everyone there, especially Trent Reznor who made it all possible.
Written & Produced by Coil & Danny Hyde.
Remixed by Peter Christopherson & Danny Hyde, Bangkok 2007.
For that session Coil were: Peter Christopherson, Jhonn Balance & Drew McDowall.
Mastered by Jessica Thompson.
Front artwork by Ian Johnstone.
Artwork licensed from The Estate of Ian Johnstone.
Layout Cold Graves and Oleg Galay.
https://infinitefog.bandcamp.com/album/the-new-backwards-extended-edition
|
2022 |
€26.00 |
|
|
The Ape of Naples (White) |
3 x LP set |
"The Ape of Naples" is a deeply emotional and uniquely rewarding album. In its immediate accessibility it is somewhat reminiscent of Coil's mid-1980s classic "Horse Rotorvator" sharing that album's wild variety of sounds and styles as well as its overriding sombre mood. Originally released in 2005 and in many ways the band's ultimate swan song, it is now considered one of the go-to albums for introducing new listeners to the unparalleled magick of Coil. Compiled and released by Peter Christopherson one year after Jhonn Balance's tragic deadly fall, it includes reworkings of the live favourite "Amethyst Deceivers" and "Love Secret's Domain"'s "Teenage Lightning" as well as several songs originally intended for the ill-fated "Backwards" album like the haunting and preminiscent "Fire of the Mind" and the superb "Amber Rain". Other tracks were created using unfinished song ideas from around "Backwards", sampling tiny bits of Balance's live vocals from songs only ever performed in concert once like "Triple Sun". Using the lyrics of the theme tune for the 1970s BBC sit com series "Are you being served?" for the unbelievably haunting "Going up", this album's final track and the last song Coil ever performed live, is maybe the most poignant example of Balance's and Christopherson's method of turning base matter into pure sound gold, and like the title of the album, derived from an imaginary adult video an equally fine example of the often underappreciated humour of the boys.
Christopherson with the help of long-term sound wizard Danny Hyde and using some of the talent of Coil touring members managed to craft an album which feels and flows like a true Coil classic.
The Infinite Fog version is the third Coil record receiving the fully remastered and enhanced 3LP/2CD treatment supervised by Danny Hyde.
All of the original material has again been carefully and sympathetically remastered by Grammy-nominated engineer Jessica Thompson who has been previously lauded for her splendid job on its sister release "The New Backwards". Coil fans old and new will be thrilled over the inclusion of more than an hour's worth of 9 rare and largely unheard bonus tracks from Danny's vaults completing the set. The astounding design of the original box-set release is restored for the gatefold 3LP sleeve using the fully-licensed artwork by Ian Johnstone (making it easy to differentiate this new vinyl version from previous un-sanctioned LP releases using poor reproductions of the original CD art for the front cover), the CD will be available in two versions with the original and well-loved original CD cover art and for the first time using the former vinyl-only cover art.
If you do not yet own a physical copy of the "Ape of Naples", or if you always wanted an enhanced version of this masterpiece, there has never been a better time to make that wish come true.
Written & Produced by Coil & Danny Hyde.
Mastered by Jessica Thompson.
Front artwork by Ian Johnstone.
Artwork licensed from The Estate of Ian Johnstone.
Layout Oleg Galay.
https://infinitefog.bandcamp.com/album/the-ape-of-naples |
2022 |
€48.50 |
|
|
The Ape of Naples |
do-CD |
CDs come in a 6-panel Digipak with a booklet and poster. Artwork by Ian Johnstone.
"The Ape of Naples" is a deeply emotional and uniquely rewarding album. In its immediate accessibility it is somewhat reminiscent of Coil's mid-1980s classic "Horse Rotorvator" sharing that album's wild variety of sounds and styles as well as its overriding sombre mood. Originally released in 2005 and in many ways the band's ultimate swan song, it is now considered one of the go-to albums for introducing new listeners to the unparalleled magick of Coil. Compiled and released by Peter Christopherson one year after Jhonn Balance's tragic deadly fall, it includes reworkings of the live favourite "Amethyst Deceivers" and "Love Secret's Domain"'s "Teenage Lightning" as well as several songs originally intended for the ill-fated "Backwards" album like the haunting and preminiscent "Fire of the Mind" and the superb "Amber Rain". Other tracks were created using unfinished song ideas from around "Backwards", sampling tiny bits of Balance's live vocals from songs only ever performed in concert once like "Triple Sun". Using the lyrics of the theme tune for the 1970s BBC sit com series "Are you being served?" for the unbelievably haunting "Going up", this album's final track and the last song Coil ever performed live, is maybe the most poignant example of Balance's and Christopherson's method of turning base matter into pure sound gold, and like the title of the album, derived from an imaginary adult video an equally fine example of the often underappreciated humour of the boys.
Christopherson with the help of long-term sound wizard Danny Hyde and using some of the talent of Coil touring members managed to craft an album which feels and flows like a true Coil classic.
The Infinite Fog version is the third Coil record receiving the fully remastered and enhanced 3LP/2CD treatment supervised by Danny Hyde.
All of the original material has again been carefully and sympathetically remastered by Grammy-nominated engineer Jessica Thompson who has been previously lauded for her splendid job on its sister release "The New Backwards". Coil fans old and new will be thrilled over the inclusion of more than an hour's worth of 9 rare and largely unheard bonus tracks from Danny's vaults completing the set. The astounding design of the original box-set release is restored for the gatefold 3LP sleeve using the fully-licensed artwork by Ian Johnstone (making it easy to differentiate this new vinyl version from previous un-sanctioned LP releases using poor reproductions of the original CD art for the front cover), the CD will be available in two versions with the original and well-loved original CD cover art and for the first time using the former vinyl-only cover art.
If you do not yet own a physical copy of the "Ape of Naples", or if you always wanted an enhanced version of this masterpiece, there has never been a better time to make that wish come true.
Written & Produced by Coil & Danny Hyde.
Mastered by Jessica Thompson.
Front artwork by Ian Johnstone.
Artwork licensed from The Estate of Ian Johnstone.
Layout Oleg Galay.
https://infinitefog.bandcamp.com/album/the-ape-of-naples |
2022 |
€23.00 |
|
| |
The New Backwards (special edition) |
3 x pic-LP |
"The New Backwards" was conceived by Peter "Sleazy" Christopherson in 2007, revisiting stray tracks which hadn't seemed to gel with the material he had chosen for the more somber "Ape of Naples" from 2005, COIL's initial posthumous release, a sort of requiem and a kiss-goodbye to his then recently deceased partner John Balance.
Significantly different to its sister release, this album collects the brilliantly chaotic and outrageously rhythmic material from the original sessions for the album that was begun as early as 1993 and had originally been conceptualised as the follow-up to "Love's Secret Domain". These songs are as diverse and wild as the places they originated from, partly infamously spawned in Sharon Tate's former home in the Hollywood Hills, the Nine Inch Nails home base in New Orleans and London's Swanyard, co-composed, remixed and restructured with the help of long-term friend Danny Hyde in Thailand, this collection has its own unique flow and an atmosphere not found on any other COIL release.
Both "AYOR" and "Backwards" had by the time the album was first released already become favourites in COIL's manic live performances. Some of the other tracks had only leaked in demo versions and are here presented updated and polished as Christopherson and Hyde intended them to be heard. It is interesting to consider Balance's vocal contributions, too. Whilst on the albums COIL did release at the time this material was first put aside ("Black Light District" and "ElpH") his voice is all but absent, his vocal performances and his lyric writing here are arguably more closely indebted to the previous "Love's Secret Domain" era, especially the epic "Copacaballa" is noteworthy in that respect.
The New Backwards" effectively became the final official COIL studio release of all new material whilst Peter was still alive and is here presented for the first time fully supervised by Danny Hyde, its co-creator.
The stunning cover uses a detail from artist Ian Johnstone's "Cubic Raven" painting, licensed from the estate of IJ..
It is high time to rediscover this timeless album with the Infinite Fog release, first time available on vinyl in its full form without 3 skipped tracks! Besides that boasting nine further tracks of previously unheard material from the same sessions, rough working stages and surprising remixes which will surely delight the dedicated COIL archaeologists, as they shine yet another light on the creative process and on what could have been.
Recorded at Swanyard, London and at Nothing Studios, New Orleans, 1996.
Thanks to everyone there, especially Trent Reznor who made it all possible.
Written & Produced by Coil & Danny Hyde.
Remixed by Peter Christopherson & Danny Hyde, Bangkok 2007.
For that session Coil were: Peter Christopherson, Jhonn Balance & Drew McDowall.
Mastered by Jessica Thompson.
Front artwork by Ian Johnstone.
Artwork licensed from The Estate of Ian Johnstone.
Layout Cold Graves and Oleg Galay.
https://infinitefog.bandcamp.com/album/the-new-backwards-extended-edition
|
2022 |
€79.00 |
|
| COLUMN ONE |
Whip cracking & Death defying (a Ceremony) |
LP |
release date: December 23th, 2016
A CEREMONY - A CELEBRATION OF STANDARDS
Recorded during rehearsals for ENTROPIUM at Haus der Berliner Festspiele, Berlin, march 23, 2012.
Includes 3 postcards.
COLUMN ONE were ZEITKRATZER
Artwork by PHILIP WIEGARD
Sleeve by ROBERT SCHALINSKI
Mastered by RASHAD BECKER
www.90-prozent-wasser.de
|
2016 |
€17.00 |
|
| CONCERT SILENCE |
9.22.07 [2-3 P.M.] |
CD |
"Concert Silence is a collaboration between Charles Buckingham and Matthew Cooper, currently both residing in Portland, Oregon. An ongoing conversation between the two began in 2004 when they met over a shared interest in live sound manipulation. 09.22.07 was the first major outcome of discussions regarding symbiotic cultures and their implications to music. A live performance set up was designed, allowing each player to have equal input and manipulation control, (which can be seen in a diagram within the artwork of the album). After the completion of a live session recorded to minidisc, the two decided to release the unmastered un-edited music for free download via their website. A short while later the free recordings were taken down from the site. Infraction Records is now releasing a previously unheard professionally mastered recording of the session in its entirety. Housed in a 6 panel cardstock folder." [label info]
"The sound of piano, both pure and processed, has become almost a sub-genre of its own within ambient electronica. There's a Satie-authored lineage stretching from Budd/Eno through to Sakamoto's collabs with Alva Noto and Fennesz, with signs to other off-beat sites. Buckingham's background in visual art makes his contribution to Concert Silence somewhat enigmatic. He had previously co-opted Cooper for the audio of an online ambient audio-visual collaboration in the Window Exchange project; Cooper's signature is clearly recognizable, for all that the pianism of his earlier Eluvium work are tweaked and tampered with here. Six discrete movements, an affair of edgy ambience, with lilting lulling passages ceding to digital depredations. Some parts subtly infiltrated, others strewn with the detritus of error-smithery. 'Part Two,' for example, sounds as if it's slowly spontaneously combusting in the player, gradually growing into a larger conflagration, culminating in a veritable firework display of pops, crackles and wayward woozy pitch shifts, eating itself in echo and fuzz, before returning to the opening lull of barely audible soft-pedaled piano purism. Overall the Cooper-Buckingham pairing puts a distinctive slant on the compositional tradition mentioned above, finding a beguiling blend of the worlds of piano concerto and that of digital signal processing, with its random reversals, glitch flurries, and drone. Yet, for all its peculiarities of pitch and microsonic mist, strong melodic lines serve as binding, stiched together, lending poise to noise. " [Alan Lockett]
www.infractionrecords.com
|
2010 |
€13.00 |
|
| CONSUMER ELECTRONICS |
Airless Space |
do-LP |
"Consumer Electronics return with a double album of all new studio recordings produced by Russell Haswell. Some wondered how the songwriting team of Philip Best and Sarah Froelich would fare after the leaving their London home to take up residency in the United States. Well, here's the answer. Recorded in San Francisco, CE deliver "Airless Space", a state-of-the-union address that does for our American cousins what the band's earlier "Estuary English" album did for a British audience poised upon the coming madness of Brexit. Unusually for CE, "Airless Space" clocks in at 60 minutes, a hexed induction for a country labouring under a presidency, that like Brexit itself, few saw coming or contemplated having to endure. Soundwise, CE have maybe mellowed the tone a touch, allowing their electronics to stretch out and breathe, whereas the frenzied and anxious vocals of Best and Froelich remain as snatched and breathless as ever. Stunningly produced by Russell Haswell and gorgeously mastered by award-winning cutting engineer Matt Colton, "Airless Space" by Consumer Electronics is their most complete and rounded statement yet." [label info]
"Russell Haswell serves vacuum-tight production for Sarah Froelich and Philip Best’s alternately piercing/soberly observant vocals in their 3rd album together as Consumer Electronics, and their first since relocating from London to San Francisco…
In ’Airless Space’ the grizzly trio recalibrate their shrewd gaze from the pre-Brexitlands of 2014’s ‘Estuary English’ to the thick of an unprecedented time in USA, which is currently in the process of fulfilling the dystopian, apocalyptic America of 2020 prophesised in countless films, books and artworks.
Trust CE to grasp the zeitgeist with bare hands in their particular style, with Best and Froelich trading the mic to mete out nearly 60 minutes of wryly sardonic side-eyes at the state of it all, while Haswell variously punctuates the negative space with a palette of bolshy bass drums and noise, or turns the vocals into gargling gurns of bestial wretchedness.
If we’re playing favourites, the increasingly throttled 13 minutes of vitriol and pranging n0!ze jabs in ‘Muder of JJ’ is substantial, while Best is at his most unsettling with the unflinching cool delivery of ‘Carnage Mechanics’, and they come together most fiercely when the vocalists trade the mic over pelting rhythm and bone-twanging twitches in ‘Play Therapy’, with Best uttering the truest lines: “Stay indoors all day, that’s what i do these days / Never leave the house if I can help it/ why would i fucking want to?” [Boomkat]
|
2019 |
€25.00 |
|
| |
Airless Space |
CD |
"Consumer Electronics return with a double album of all new studio recordings produced by Russell Haswell. Some wondered how the songwriting team of Philip Best and Sarah Froelich would fare after the leaving their London home to take up residency in the United States. Well, here's the answer. Recorded in San Francisco, CE deliver "Airless Space", a state-of-the-union address that does for our American cousins what the band's earlier "Estuary English" album did for a British audience poised upon the coming madness of Brexit. Unusually for CE, "Airless Space" clocks in at 60 minutes, a hexed induction for a country labouring under a presidency, that like Brexit itself, few saw coming or contemplated having to endure. Soundwise, CE have maybe mellowed the tone a touch, allowing their electronics to stretch out and breathe, whereas the frenzied and anxious vocals of Best and Froelich remain as snatched and breathless as ever. Stunningly produced by Russell Haswell and gorgeously mastered by award-winning cutting engineer Matt Colton, "Airless Space" by Consumer Electronics is their most complete and rounded statement yet." [label info]
"Russell Haswell serves vacuum-tight production for Sarah Froelich and Philip Best’s alternately piercing/soberly observant vocals in their 3rd album together as Consumer Electronics, and their first since relocating from London to San Francisco…
In ’Airless Space’ the grizzly trio recalibrate their shrewd gaze from the pre-Brexitlands of 2014’s ‘Estuary English’ to the thick of an unprecedented time in USA, which is currently in the process of fulfilling the dystopian, apocalyptic America of 2020 prophesised in countless films, books and artworks.
Trust CE to grasp the zeitgeist with bare hands in their particular style, with Best and Froelich trading the mic to mete out nearly 60 minutes of wryly sardonic side-eyes at the state of it all, while Haswell variously punctuates the negative space with a palette of bolshy bass drums and noise, or turns the vocals into gargling gurns of bestial wretchedness.
If we’re playing favourites, the increasingly throttled 13 minutes of vitriol and pranging n0!ze jabs in ‘Muder of JJ’ is substantial, while Best is at his most unsettling with the unflinching cool delivery of ‘Carnage Mechanics’, and they come together most fiercely when the vocalists trade the mic over pelting rhythm and bone-twanging twitches in ‘Play Therapy’, with Best uttering the truest lines: “Stay indoors all day, that’s what i do these days / Never leave the house if I can help it/ why would i fucking want to?” [Boomkat]
https://www.youtube.com/watch?v=zjgTBnca2rE |
2019 |
€15.00 |
|
| CONTAGIOUS ORGASM |
Flows out |
CD |
Das Moskauer Label bereits mit dem vierten Release, ein neues sehr sehr ungewöhnliches Werk von HIROSHI HASHIMOTO (inkl. Verstärkung) mit dem genialen Projektnamen. Dies ist "a kind of experimental Mutanten-Pop", ungewöhnliche rhythmische Strukturen & weird Samples, jedes Stück klingt anders, hypnotisch, außerweltlich, analogisch. Kommt in aufwendiger Artwork mit diversen Inlays!
„Contagious Orgasm is the band which was always cutting the line of japanese noise units. The music of Hiroshi Hashimoto appears to be much more structured and heavily "composed". Even in early albums released by Tesco and Ant-Zen, one can feel mind warping and challenging atmosphere instead of more usual raw instinctual aggression freed by sound. With every new album, the Contagious Orgasm music becomes more complex and unpredictable. "Flows Out" probably takes the band to the high point of career - to the moment , it's most mature and completed work. It's homogenous, but implicated with a plenty of different elements, not contrary but hardly combined within the noise music unwritten rules. These elements are mostly rhythmic parts related to minimal techno, techno ambient, glitch, electro industrial and even dub and swing grooves, which are fitting perfectly in every aspect of industrial aesthetics which flows out of the album. One can see the organic sounding as the optimizing feature for those who couldn't accept the real voice of nowadays underground. Anyway, this album is the perfect choice for the newcomers and people who never heard this band before. As always for Waystyx, deluxe edition including a set of nice postcards, placed with CD into the black pseudo-digipack. Ltd edition of 777 copies.” (I.E.M. magazine)
|
2003 |
€13.00 |
|
| |
Live at Maschinenfest 2018 |
MC |
raubbau picks up the thread and continues with its quest to make available memorable maschinenfest performances. contagious orgasm was a mf regular, and this perfectly shows the progression from the 2008 performance made available last year: gone are the idm leanings, the co sound of the 2010s (which is presented here) is even more a language of its own, abrasive and accessible, palpable and psychedelic at the same time.
get ready for some active listening - “afterglow” and “operation blue” are like a walk over thin ice, with acoustic strings and percussions, intimate melodies, whispered vocals and eerie washes of background feedback. the two parts of “exploration end seeking” are examples of co’s experimental leanings and an appreciation of the musique concrete. “mineral” and “firewalker” sport almost-rhythms and through a psyched-out, spooky back-alley take the performance to its noisy finale. It goes without saying that the sound quality is flawless, representing all the fine details of the truly unique co sound.
www.raubbau.org
www.facebook.com/raubbau.label
credits
released November 20, 2019
recorded live at maschinenfest, turbinenhalle, oberhausen, germany, 21. october 2018. performed by h h, s s, marvel. artwork by stefan alt
https://raubbau.bandcamp.com/album/live-at-maschinenfest-2018 |
2019 |
€10.00 |
|
| CONTRASTATE |
A live Coal under the Ashes |
CD |
"1992 saw the release of "A live coal under the ashes" which was inspired by the events leading up to the changes across Eastern and Central Europe during 1989. This release marked the change conceptually in which the group's ideas became more specific and more focused on contemporary political issues. "A live coal…" was critically acclaimed not just for the music, but also for the artwork and packaging: - a CD placed in the middle of a 12 inch clear vinyl record. After many years of unavailabity Tesco can finally present a rerelease with remastered tracks and a new yet unreleased track called: "Death follows the one eyed cow." An album full of ambient atmospheres, drones, percussion, suitable dark narrations and some steady muted rhythms. These are intense, highly charged recordings with a powerful mystic and ritual feeling. A masterpiece of sound poetry. Comes in nice Digipak. Total Playing time 50:30. Contrastate were formed in 1987 and disbanded in 2000. Ever since the demise of Contrastate there has been a void in the experimental music scene that no other act has managed to fill. Their diverse creative output, manifested as sweeping electronics and sound manipulation together with theatrical spoken word, was nothing less than mind blowing in its complexity and originality." [press release]
www.tesco-germany.com
"A peculiar start with tribal smatterings of drums, deep resonating black drones broken up with light orchestral patches, attention halting splatters and further sparse drones, pulling on rather obscure nightmarish elements. Contrastate surprisingly draw on a hell of a lot of quietness that just rarely breaks up into beats that dissolve no sooner than they start.
After an interesting if not completely inspiring start its time for this trio to get down to business and actually show us what they are made of. Pleasant film like ambience sets this off with low-end straight vocal lines gathering the backdrop together and you begin to believe this album may actually be going somewhere, especially when the ambience is allowed to build dramatically onward.
Its a little hard to pigeon hole this lot and that’s where their appeal lies for me. There is a deep sense of ritualism within their folds, but it’s not as obvious as you might expect; another plus point being that they simply do not remind me of anyone else, no matter how hard I try to fathom it out.
There is an odd sense of mania whilst listening to ‘A Live Coal…’ strange whistling, off key guitar strings and trance like paranoia. I can’t help but applaud them for pulling something off that simply shouldn’t work on paper. The use of vocals, although male in origin are used much in the same way, as say Diamanda Gallas probably would with full on croaking used as a backdrop. Even if this isn’t your cup of tea it doesn’t take much to grasp just how much thought has gone into this.
Completely out there…somewhere, but relevant; refreshingly original, scoring highly on sheer thought process and effort alone." [Blackaudio]
|
2008 |
€8.00 |
|
| CONTROLLED BLEEDING |
Distress Signals I |
do-LP |
"Re-Issue auf limitiertem, schwarzem Doppel-Vinyl Gatefold Sleeve Offiziell autorisiert Die erste autorisierte Wiederveröffentlichung von CONTROLLED BLEEDINGS seltenem Debütalbum "Distress Signals I" auf Vinyl. Ursprünglich wurde es im Jahr 1984 auf Gary Mundys Label Broken Flag ausschließlich auf Kassette veröffentlicht. Ein Album voll von Powernoise und verzerrtem Gesang. Diese 2LP-Edition wird im Gatefold Sleeve mit originalem Artwork veröffentlicht und enthält die ursprünglichen Liner Notes der Kassetten-Veröffentlichung.//
Originally released as a tape on Broken Flag in 1984, Controlled Bleeding's first album 'Distress Signals' is a rare delivery of brutal powernoise and experimentally distorted and tortured vocals. The near hour-long performance is immediate and harsh, and the tape has a kind of holy grail'ish quality amongst collectors, not the least because of the special status of Broken Flag, but also because it had never been properly reissued on either CD or vinyl. Now the material is issued as a DOUBLE-LP, presented in a sublime gatefold sleeve featuring the original artwork, as well as a copy of the liner notes from the tape insert. This edition is limited to 200 copies on GREY VINYL." [label info]
www.artoffact.com |
2016 |
€30.00 |
|
|
Distress Signals I & II |
do-CD |
"Erste Re-Issue von DISTRESS SIGNALS I & II als Doppel CD Inkl. unveröffentlichter Bonus-Tracks Remastered Offiziell autorisiert! "Distress Signals I & II" ist eine Wiederveröffentlichung der beiden "Distress Signals"-Alben von CONTROLLED BLEEDING, die nun zum ersten Mal auf CD erhältlich sein werden und mit einer Menge an Bonus-Tracks daher kommen. Ursprünglich wurde das erste der beiden im Jahr 1984 auf Gary Mundys Label Broken Flag ausschließlich auf Kassette veröffentlicht. Ein Album voll von Powernoise und verzerrtem Gesang. Nun wird es zusammen mit "Distress Signals II" über Artoffact Records als Doppel-CD wiederveröffentlicht - inklusive des originalen Artworks des Debüts von CONTROLLED BLEEDING und Liner Notes der ursprünglichen Kassette. Zusätzlich enthält diese Version eine ganze Reihe an unveröffentlichtem Bonusmaterial."
www.artoffact.com
|
2016 |
€20.00 |
|
|
Distress Signals I |
do-LP |
"Re-Issue auf limitiertem, schwarzem Doppel-Vinyl Gatefold Sleeve Offiziell autorisiert Die erste autorisierte Wiederveröffentlichung von CONTROLLED BLEEDINGS seltenem Debütalbum "Distress Signals I" auf Vinyl. Ursprünglich wurde es im Jahr 1984 auf Gary Mundys Label Broken Flag ausschließlich auf Kassette veröffentlicht. Ein Album voll von Powernoise und verzerrtem Gesang. Diese 2LP-Edition wird im Gatefold Sleeve mit originalem Artwork veröffentlicht und enthält die ursprünglichen Liner Notes der Kassetten-Veröffentlichung.//
Originally released as a tape on Broken Flag in 1984, Controlled Bleeding's first album 'Distress Signals' is a rare delivery of brutal powernoise and experimentally distorted and tortured vocals. The near hour-long performance is immediate and harsh, and the tape has a kind of holy grail'ish quality amongst collectors, not the least because of the special status of Broken Flag, but also because it had never been properly reissued on either CD or vinyl. Now the material is issued as a DOUBLE-LP, presented in a sublime gatefold sleeve featuring the original artwork, as well as a copy of the liner notes from the tape insert." [label info]
www.artoffact.com
|
2016 |
€26.00 |
|
| |
Blistered Bags of Fodder Swaying |
10 x CD |
10CD Bound Book! Vinyl-sized bound book containing 10 CDs and 24 pages, including artwork reproductions and an essay by Paul Lemos.
The period between 1985 and 1988 was the most productive in the long history of Controlled Bleeding. No fewer than 13 albums and three split works were released in this short timeframe, starting with Death in the Cameroon, and including other releases on Sub Rosa, Dossier, and many others. Founder Paul Lemos, along with long-time members Joe Papa and Chris Moriarty produced material relentlessly over this three to four year span, experimenting with noise, industrial, tribal sounds, goth, ethereal, and ambient music. In hind-sight, this furious output set the stage for Controlled Bleeding's more famous Wax Trax works, but the material itself found its way to every corner of the experimental world, and it influenced everyone.
Artoffact Records is proud to announce a 10CD collection of Controlled Bleeding material, released between 1985 and 1988, much of which has been out of print for decades. The set starts with the tape-only Death in the Cameroon, and includes seven more Controlled Bleeding albums, including Headcrack, which has never been released on CD. Also included are two Controlled Bleeding off-shoots: the industrial one-off project The Art Barbeque, from 1985, and the Lemos / Papa collaboration Music For Stolen Icon from 1986.
The set includes large-size reproductions of the front and back covers of each release, as well as a longform essay by Paul Lemos. All material has been remastered and restored.
CD Contents:
1. Death in the Cameroon
2. The Art Barbeque "Feet Hacked Rails"
3. Headcrack
4. Between Tides
5. Curd
6. Core
7. Paul Lemos & Joe Papa "Music for Stolen Icon"
8. Music For the Scourging Ground
9. Music For Gilded Chambers
10. Songs From the Drain
|
2018 |
€50.00 |
|
| 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 |
|
| CRAWL UNIT |
Tucson, Mon Amour (SOLD OUT) |
7inch |
white vinyl, handmade Coverartwork (sticked papers & pictures with coloured wax), edition of 250 numbered copies
"This project from Sacramento, CA, has released some of the most exciting experimental music in the last few years, which is documented on some CDs, Vinyls and tapes. CRAWL UNIT has shown many different sides to his sound so far, and this EP is no exception: metallic, high frequent reverberated sounds and low, droning backgrounds, accompanied by some harsh outbursts of noise. Extremely suspenseful and not to be missed by lovers of new & independent music." [label info]
|
1998 |
€6.00 |
|
| CURRENT 93 |
If a City is set upon a Hill [coloured vinyl] |
LP |
"Das neue Current 93-Album verweist mit dem auf den ersten Blick untypischen Fliesen-Artwork, auf denen der Mord Kains an Abel dargestellt ist, auf Current 93s „Rockalbum“ „Aleph At Hallucinatory Mountain“, auf dem es hieß: „In the beginning was the murderer“. Musikalisch-personell knüpft es stark an das 2018 erschienene Album „The Light Is Leaving Us All“ an, wurde „If A City Is Set Upon A Hill“ doch in fast der gleichen Besetzung aufgenommen – im direkten Vergleich ist „If A City“ vielleicht etwas elegischer und mit seinen sieben Stücken und 37 Minuten Laufzeit recht kurz, dabei allerdings nicht weniger gehaltvoll.
Schaut man in die Entwicklung Current 93s, dann ist es sicher kein Zufall, dass viele der als Referenzwerke gesehenen Alben aus den 90ern, die nicht unerheblich zum Kultstatus des Projekts um David Tibet beigetragen haben, durch eine relativ stabile Kernbesetzung eingespielt wurden und darüberhinaus eine Vielzahl starker – solch ein Begriff mag bezogen auf Current 93 vielleicht etwas profan anmuten – Songs enthielten. Die Qualität der einzelnen Stücke trug dann auch sicher nicht unerheblich dazu bei, dass das 2018 erschienene „The Light Is Leaving Us All“ das vielleicht stärkste Album seit “Black Ships Ate The Sky” war.
Seit “The Light…” erschienen die weitgehend instrumentalen, von Soundscapes durchzogenen Alben „Invocations Of Almost“, „If A Star Turns Into Ashes“ sowie die beiden Soloalben Tibets („Ferelith“ und „Fontelautus“), die in ihrer somnambulen (Alp-)Traumatmosphäre und atmosphärischen Dichte zumindest zum Teil an das Verstörende und Irritierende des Frühwerks anknüpften.
Das schon vorab veröffentlichte das Album eröffnende „If A City…“ legt den Ton, die Stimmung fest: Im Zusammenspiel von Drones, Klavier und Geige entsteht ein elegisch-melancholisches Stück und Tibet, der hier – wie schon auf seinen Soloalben – nur noch unter seinem Vornamen firmiert, intoniert: „If under G+D’s Wing/By the JawBone and HeeHaw/The donkey creeps silently/Through the door in the hall/Then plague and mice/And the woodlice stream…“. Wenn man einem Instrument eine tragende und zentrale Rolle zusprechen will, so dann sicher der von Aloma Ruis Boada gespielten Geige, die das gesamte Album prägt. Auf „There Is No Zodiac“ setzt der dezente Einsatz von E-Gitarre leicht dissonate Akzente. Auf dem dann folgenden „Joke Moon“ gibt es ein fantastisches Zusammenspiel von Alisdair Roberts wunderschön gezupfter Gitarre und der Violine. Auch auf „A Column Of Dust“ erzeugen Gitarre und Geige und der dramatische Gesang Tibets eine beeindruckende Atmosphäre – man möchte dem von ihm besungenen “Final Express Train” nicht unbedingt begegnen. „The Child, And Fire” erinnert mit seinen Pianopassagen entfernt an „Soft Black Stars“.
Textlich finden sich die thematischen Obsessionen, die das Werk Current 93s seit Jahr(zehnt)en prägen: Apokalyptische Szenarien werden entworfen: „It it rains razors, and murders, and slaughters“, „The Moon is dead now—Joke Moon!“, „A castle or Moloch“, „And the noise in your eyes/Has the rumours of wings/And the fly and the hornet/From the Scorpion RainBow“, „In the walls the colourful cartoons/Are covered with sores“), das Zusammenspiel von Profanem und Erhabenem („In time for tea, in time for end“), Nursery Rhymes („By the butcher, and the baker, /And the candlestick maker“, “Just memories stretched out/From nursery rhymes or spectres”), (der) Gott in all seiner Ambivalenz: „Vengence in His Eye/I AM THE LORD! – THE KILLER AND THE CREATOR“.
Muss man beim Titel des Albums vielleicht unweigerlich an die von John Winthrops aus der Bergpredigt (“You are the light of the world. A city set on a hill cannot be hidden“) entlehnte Fortmulierung denken, der so eine zentrale Rolle beim Selbstverständnis der amerikanischen Nation zukommt, denken, erfährt man im Booklet, dass die Inspiration für das Album ein akkadischer Text namens „If A City Is Set Upon A Height“ ist. Passenderweise dankt Tibet im Booklet seinen Hebräisch-, Akkadisch-, Koptisch- und Ugaritischlehrern, erneut sein Interesse an (ur-)alten Sprachen, am logos betonend, der ja “im Anfang” war.
Letztlich ist es so erfreulich wie erstaunlich, dass nach dem fast 40-jährigen Bestehen Current 93s, “your favourite hallucinatory skipping-rope”, wie es auf dem Albumcover heißt, noch immer Alben entstehen, die beeindrucken können und beeindruckend sind und ein Spätwerk einläuten, das viel verspricht." [MG, African Paper] |
2022 |
€37.50 |
|
| |
If a City is set upon a Hill |
CD |
"Das neue Current 93-Album verweist mit dem auf den ersten Blick untypischen Fliesen-Artwork, auf denen der Mord Kains an Abel dargestellt ist, auf Current 93s „Rockalbum“ „Aleph At Hallucinatory Mountain“, auf dem es hieß: „In the beginning was the murderer“. Musikalisch-personell knüpft es stark an das 2018 erschienene Album „The Light Is Leaving Us All“ an, wurde „If A City Is Set Upon A Hill“ doch in fast der gleichen Besetzung aufgenommen – im direkten Vergleich ist „If A City“ vielleicht etwas elegischer und mit seinen sieben Stücken und 37 Minuten Laufzeit recht kurz, dabei allerdings nicht weniger gehaltvoll.
Schaut man in die Entwicklung Current 93s, dann ist es sicher kein Zufall, dass viele der als Referenzwerke gesehenen Alben aus den 90ern, die nicht unerheblich zum Kultstatus des Projekts um David Tibet beigetragen haben, durch eine relativ stabile Kernbesetzung eingespielt wurden und darüberhinaus eine Vielzahl starker – solch ein Begriff mag bezogen auf Current 93 vielleicht etwas profan anmuten – Songs enthielten. Die Qualität der einzelnen Stücke trug dann auch sicher nicht unerheblich dazu bei, dass das 2018 erschienene „The Light Is Leaving Us All“ das vielleicht stärkste Album seit “Black Ships Ate The Sky” war.
Seit “The Light…” erschienen die weitgehend instrumentalen, von Soundscapes durchzogenen Alben „Invocations Of Almost“, „If A Star Turns Into Ashes“ sowie die beiden Soloalben Tibets („Ferelith“ und „Fontelautus“), die in ihrer somnambulen (Alp-)Traumatmosphäre und atmosphärischen Dichte zumindest zum Teil an das Verstörende und Irritierende des Frühwerks anknüpften.
Das schon vorab veröffentlichte das Album eröffnende „If A City…“ legt den Ton, die Stimmung fest: Im Zusammenspiel von Drones, Klavier und Geige entsteht ein elegisch-melancholisches Stück und Tibet, der hier – wie schon auf seinen Soloalben – nur noch unter seinem Vornamen firmiert, intoniert: „If under G+D’s Wing/By the JawBone and HeeHaw/The donkey creeps silently/Through the door in the hall/Then plague and mice/And the woodlice stream…“. Wenn man einem Instrument eine tragende und zentrale Rolle zusprechen will, so dann sicher der von Aloma Ruis Boada gespielten Geige, die das gesamte Album prägt. Auf „There Is No Zodiac“ setzt der dezente Einsatz von E-Gitarre leicht dissonate Akzente. Auf dem dann folgenden „Joke Moon“ gibt es ein fantastisches Zusammenspiel von Alisdair Roberts wunderschön gezupfter Gitarre und der Violine. Auch auf „A Column Of Dust“ erzeugen Gitarre und Geige und der dramatische Gesang Tibets eine beeindruckende Atmosphäre – man möchte dem von ihm besungenen “Final Express Train” nicht unbedingt begegnen. „The Child, And Fire” erinnert mit seinen Pianopassagen entfernt an „Soft Black Stars“.
Textlich finden sich die thematischen Obsessionen, die das Werk Current 93s seit Jahr(zehnt)en prägen: Apokalyptische Szenarien werden entworfen: „It it rains razors, and murders, and slaughters“, „The Moon is dead now—Joke Moon!“, „A castle or Moloch“, „And the noise in your eyes/Has the rumours of wings/And the fly and the hornet/From the Scorpion RainBow“, „In the walls the colourful cartoons/Are covered with sores“), das Zusammenspiel von Profanem und Erhabenem („In time for tea, in time for end“), Nursery Rhymes („By the butcher, and the baker, /And the candlestick maker“, “Just memories stretched out/From nursery rhymes or spectres”), (der) Gott in all seiner Ambivalenz: „Vengence in His Eye/I AM THE LORD! – THE KILLER AND THE CREATOR“.
Muss man beim Titel des Albums vielleicht unweigerlich an die von John Winthrops aus der Bergpredigt (“You are the light of the world. A city set on a hill cannot be hidden“) entlehnte Fortmulierung denken, der so eine zentrale Rolle beim Selbstverständnis der amerikanischen Nation zukommt, denken, erfährt man im Booklet, dass die Inspiration für das Album ein akkadischer Text namens „If A City Is Set Upon A Height“ ist. Passenderweise dankt Tibet im Booklet seinen Hebräisch-, Akkadisch-, Koptisch- und Ugaritischlehrern, erneut sein Interesse an (ur-)alten Sprachen, am logos betonend, der ja “im Anfang” war.
Letztlich ist es so erfreulich wie erstaunlich, dass nach dem fast 40-jährigen Bestehen Current 93s, “your favourite hallucinatory skipping-rope”, wie es auf dem Albumcover heißt, noch immer Alben entstehen, die beeindrucken können und beeindruckend sind und ein Spätwerk einläuten, das viel verspricht." [MG / African Paper]
|
2022 |
€18.50 |
|
| CUTLER, CHRIS |
Twice around the Earth. An Experiment in listening |
CD |
Ein Hör-Experiment vom Recommended Records-Betreiber, diese Produktion fürs ORF Kunstradio (www.kunstradio.at/2003A/cutler).
Eine unglaubliche Fülle von field recordings werden quasi als „Reise um die Welt“ verarbeitet: ein Versuch, die Subjektivität und Voreingenommenheit beim Hören zu überwinden...
„Out of the Blue Radio ist eine Radiosendung, die in London täglich zwischen 23.30 Uhr und Mitternacht auf Resonance FM (http://www.resonancefm.com), einem unabhängigen Sender für Radiokunst, ausgestrahlt wird. Gestartet wurde das einjährige, budgetlose Projekt im Juli 2002.
Meine Idee für diese Sendung war es, den HörerInnen das Ohr einer anderen Person für jeweils eine halbe Stunde zu "leihen"; ein Fenster zu einer anderen Geräuschkulisse zu öffnen - entfernt oder nah -, die nicht ident mit der eigenen akustischen Umgebung ist. Die AutorInnen, die uns ihre Ohren zur Verfügung stellen, gestalten durchgehende, ungeschnittene halbstündige Aufnahmen von einem Ort ihrer Wahl, aufgenommen zwischen 23.30 Uhr und Mitternacht Londoner Ortszeit; d.h. halb vier Uhr nachmittags in Vancouver, 7.30 Uhr morgens in Peking oder 00.30 Uhr in Wien. Sie schicken diese unbearbeiteten Aufnahmen dann nach London, wo sie wie sie sind gesendet werden.
Ein wichtiger Aspekt des Projekts ist es, ganze Zeitblöcke in ihrer Entfaltung einzufangen; sie nicht zu verbessern oder umzumodellieren zu versuchen; sie nicht den Vorstellungen eines Produzenten, was gut klingt oder ästhetisch wertvoll ist, anzupassen, sondern einfach nur diese Momente einzufrieren. Ort und Tätigkeit sind gewählt, der Rest sich selbst überlassen. Dies sind allerdings nicht Schnappschüsse aus dem Leben, sondern Hörobjekte: Geräusche, die eingefangen werden und in fremden Kontexten reproduziert werden; Sounds, die gerahmt und objektiviert und unabhängig wiedergegeben werden.
Es scheint mir, dass die Beiträge mit ihrer rohen Beschaffenheit, am "Mangel" an Bearbeitung überhaupt nicht leiden - ganz im Gegenteil: sie entwickeln dadurch eine unglaubliche Kraft. Von allen anderen sinnlichen Wahrnehmungen und von ihren lebenden Quellen getrennt, enthüllen sie, was durch die Zwänge des Alltags, durch das wir eilen, unbedacht überhört wird. Geräusche, die instinktiv ignoriert, in Objekten aufgelöst oder absichtlich unterdrückt werden, können durch ihre unmittelbare Irrelevanz und die Gleichgültigkeit von Maschinen, die keine Subjektivität besitzen, zu neuem Leben erwachen.
Selbstverständlich "klingen" diese Geräusche, doch das ist nicht deren "Bekenntnis". Sie verlangen nicht, als reiner Sound gehört zu werden. Sie sind, was sie sind: Autos, Hämmer, Atmosphären - zugleich vertraut und rätselhaft. Und - wie Geräusche, die durch ein offenes Fenster dringen - können sie Beachtung finden oder ignoriert werden. Sie können lediglich eine Atmosphäre tönen - oder die Aufmerksamkeit auf sich ziehen und unser ästhetisches, analytisches und sogar narratives Auffassungsvermögen in Gang setzen.
Als ich gebeten wurde, diese Kompilation zu machen, wollte ich natürlich die Aspekte des Zufälligen und des Unmittelbaren, die so wichtig für das Projekt sind, bewahren. So, anstatt eine Auswahl der "best of" zu treffen oder besonders "interessante" Sounds herauszusuchen, entschied ich, mich von Geografie und Zeit leiten zu lassen. Ich plante eine akustische Reise zweimal um die Welt, wofür 43 der bislang 230 Aufnahmen verwendet werden. Geografische Angaben bestimmten die Reihenfolge der Stücke; der Zeitfluß welche Abschnitte/Orte innerhalb dieser geographischen Zonen gewählt wurden. D.h. ich nahm die ersten 55 Sekunden von der ersten Aufnahme, dann eine Strecke von ca. 0.55 bis etwa 1.50 Minuten von der nächsten usf. durch die Arbeit hindurch. Ich dies aber nicht so genau und entschied beim Anhören erst, wieviel ich von jedem 55-Sekunden-Abschnitt schlußendlich nahm und wo und wie ich die Übergänge gestalten wollte. Anders als die Überblendungen verweilen die "reisenden" Ohren allerdings immer an einem Ort nach dem anderen. Keine der Sounds wurde bearbeitet oder verändert.
Diese freeze-frame Ausgabe von Out of the Blue Radio, die sich eigentlich ähnlich einer Diaschau entwickelt, kann natürlich weder die Ganzheit des Programms noch den kumulativen Effekt, jeden Tag eine andere Welt zu betreten, transportieren; doch ich habe mich an die Priorität des Hörens gehalten, wilde Landschaften zu nehmen, bevor sie gejätet, bepflanzt und verbessert werden. Die täglichen Sendungen, sogar diese Montage, tragen nur leicht die Handschrift von menschlichen Entscheidungen oder Absichten. Der Rest ist, wie er ist.
So wie ich das Stück geschnitten habe, passiert alles, was man hört, während John Scott am Londoner Themseufer entlang läuft, in Hörweite des Big Ben. Das Stück geht John Scott los, der seinen Lauf beginnt, holt ihn bei der ersten Umrundung des Globus ein und kehrt wieder zu ihm zurück als er kurz vor Mitternacht seine Aufnahme beendet. Zwischenzeitlich reisen wir mit virtuellen 49.803 Meilen/Stunde (79.500 km/Sek.) in Quantensprüngen von Ort zu Ort.“ [Chris Cutler]
“An experiment in listening. These compositions are an offshoot of the daily soundscape programme I ran for Resonance FM radio between July 2001-2002, which consisted of commissioned real-time recordings made all around the world between 23.30 and midnight GMT (the time of the broadcast). This CD begins with material from these broadcasts confecting, as it were, two composites of the Earth and a few of its inhabitants, somewhat analogous to what an impossible satellite ear with pinpoint acuity might hear in transit - plus one ear-cleaning stretch between them, taken from a single hear-point. I have tried to make these pieces both open and to work on parallel levels: not only do they have their own narrative and aesthetic qualities, but I hope they also offer a meditation on listening and not listening, interpretation and structure, chance and microphonics. The list of ears around the world who supplied basic material is too long to print here, but it includes many names familiar from these catalogues, and many from the still young soundscape and phonograpic community. Full details of people and places are given in the booklet, along with artwork and thorough notes. You have to trust me on this, it's a really engaging record. Sometimes unbelieveable. I don't think you'll regret giving it a chance.” [ReR]
|
2003 |
€14.00 |
|
| CYCLOTIMIA |
Music for Stockmarkets |
CD |
Das russische Projekt mit einem kritischen Werk zur Konsumgesellschaft & Finanzwirtschaft, eingespielt auf original russischen "Vintage Electronic" Geräten!
"Cyclotimia is a project from Russia and have created some very good and interesting albums. Albums like ‘Same Time Same Place’, ‘Wasteland’ and ‘Celestis’ are a combination of spatial ambient and IDM glitch, aided with the use of lush synthesizers. The music often times is very deep and free interpretable. A recurring theme for this project is the world of stockmarkets. With this new album ‘Music for Stockmarkets’, stockmarkets is the essential theme and motive. Though the album ventures into the typical Cyclotimia topics, it doesn’t sound at all like the former albums. Well, maybe in some places, but its most of all a totally different experience. Gone are the deep soundscapes as the music is stripped to its bare essential. With a fast listening, it reminds me of music created in the Amiga era, but upon closes inspection, the music is rather layered and there is a lot to be discovered here. The album consists of a lot of bleeps and clicks and cuts, but there is also room for the occasional (piano) melody, together with different sampled sources. The great thing about this album is that it’s very subliminal and can sometimes have a rather disturbing feeling to it. A lot of tracks are very clinical in its approach, but it is interspersed with more layered tracks and deeper sounds. This is really an album which should be listened to with headphones and requires your full attention. If listened to rather superficially, the album can seem somewhat boring, because all the details are missed, which is the essential of this interesting work.
It is music that can be difficult and cryptic, but that’s also the beauty of this album, which turns the music into a piece of art. The music therefore isn’t for everyone, because it’s not a ‘fun’ album. It’s maybe more academic, but with a more human approach. Hard to describe, you just have to listen to it. The artwork is also very nice and really makes the experience complete. The album gets a high recommendation because of its originality, but only to the more advanced listeners of experimental music, but a great album nonetheless." [Gothtronic]
"Cyclotimia is most probably the only project in the world which has chosen the creation of a soundtrack to "globalisation" and life of the "consumer society" as their concept. The project members more than anyone else are immersed into the magic of finance and probably therefore has their creative intuition allowed them to compose the main part of "Music for Stockmarkets" with its unforgivingly precise name "Wallstreet Requiem". Today the whole civilised world is listening to this requiem the first cords of which were played on Wall Street itself... The "Music for Stockmarkets" album with its radically experimental nature stands out in the extensive discography of this Moscow project. The 64-minute album includes 32 tracks divided into three conceptual parts: "Wallstreet Requiem" (25 minutes, recorded in 2004-2007), "Trivial Pleasures" (26 minutes, recorded in 2002, this part was the only one released as a seperate CD in 2003) and "Financial Glossary" (13 minutes, recorded in 2003)... The music material itself is nothing like the one heard in the previous records of Cyclotimia. There is no apocalyptic soundscapes of "Wasteland" times, no cybernetic hi-tech and media madness of "E$chaton", no cosmic downtempo of "Celestis: Space Ceremonial Music"... Minimalism, academic sterility, surgical accuracy and meditative ataraxy prevail on "Music for Stockmarkets". Then again it is not the familiar "idm", "glitch", "noise", "clicks and cuts" and not "minimal techno"... The sound of the album is chrystal-clear and warm at the same time. "Vintage" lovers have a wonderful chance to listen to the masterpieces of Soviet music production (such as Rhythm 1, Rhythm 2, Aelita, Formanta UDS, Formanta EMS-01, Polyvox) in pure sound, unprocessed by effects." [label info] |
2008 |
€13.00 |
|
| DAIJING, PAN |
Jade |
LP |
"LP on white vinyl! What if a song was not a culmination but a singe, an imprint, or a crater left in the wake of creative process? On her new record "Jade", Pan Daijing composes at a different scale than that we've come to know. Since the release of her groundbreaking LP "Lack" in 2017, Daijing has expanded her operatic vision into a series of major commissioned exhibition-performances at institutions including the Tate Modern, Martin Gropius Bau, and the Haus der Kulturen der Welt. Developed for full casts of opera singers and dancers, and reaching for an all-encompassing durational experience of intensity for both performer and audience, the development of these works was for Daijing as emotionally disarming as it was thrilling. In order to continue accessing her own limits, Daijing had to develop a place of sanctuary within her own practice. Its nine tracks written and recorded over the last three years, "Jade" is the sound of solitary release and refuge, of creative self-sustenance. Written without the imperatives of direct address to performers or audience, "Jade" speaks inward, while inviting a kind of rhetorical listening. The artist draws on materials familiar from her previous work: namely, ascetic electronic textures that rumble and pierce, and voice bent in irreverent directions. In place of catharsis, however, her arrangements here linger in tension, extending curiosity towards the delicate void that nourishes extremes. They toy with the minor capacities of song: repetition, chant, observations that conclude without resolving. "Jade" comes from a vulnerable place, tender as in an undressed wound caught in the midst of healing over. Vocals, mostly Daijing's own, arrive as wordless sequences of notes soaring alongside a drone, or plain laughter, or in a few places spoken word. What is said or sung provides fragments of experience and reflection. In the process of piecing together these fragments, the listener is confronted with the tender parts of her own. "Solitude is like an immense lake you're swimming through," says Daijing of these songs. "Sometimes you dip your head in and sometimes you lift it above. On album centerpiece "Let," she speaks to us over the sound of rippling water, returning between anxious scenes to a refrain: "I take my bath in the ocean." We are not just consuming Daijing's story; we are being invited to join her in the water. The album is mixed and mastered by Rashad Becker, featuring artwork by Pan Daijing, cinematography by Dzhovani Gospodinov & design by NMR."
"High-minded noise operatics and ruptured spoken word experiments from PAN mainstay Pan Daijing on her second album for the label.
If Daijing's PAN debut "Lack" was operatic body horror, all fireworks and theatrics, "Jade" drags that body inside, dumps it into a grimy bathtub and locks the door. It's an anxious, solitary album that twins basement noise aesthetics with Daijing's cathartic performance, playing her signature vocals against screaming oscillators, booming Wolf Eyes-esque percussion and uncomfortable analog bass.
'The Goat' allows her words to creep slowly over a backdrop of slithering, industrial distortion. Her voice is barely audible, whispered in the spaces between muted squeals and repeating pulses. On 'Dictee', Daijing wails and hums over distorted cello moans; on 'Dust' there's the suggestion of a song, shattered into pieces and rebuilt using ill-fitting replacement parts.
The album's most successful moment is when Daijing allows a crack of light to shine in through the tightly-drawn curtains. 'Let' layers disarmingly sweet synthesizer chimes over Daijing's cool, confident vocals. "Could it be possible, I take my bath in the ocean, I can't get out," she repeats ominously as synth tones creep into view.
It's a suffocating album, made in solitude to represent the visceral anguish of the void. Fans of '80s industrial drone tomes from Ramleh or M.B. or more recent noise plates from Puce Mary, LINGUA IGNOTA or Pharmakon should investigate without delay." [Boomkat]
https://soundcloud.com/pan_hq/pan-daijing-dust-pan-113
|
2021 |
€23.50 |
|
| |
Tissues |
do-LP |
Pan Daijing's exhibition-performance Tissues premiered in the Tanks at the Tate Modern in autumn 2019. A five-act immersion in performance, sound, movement, space, and most of all emotion in its most distilled and conflicted states, Tissues engaged with the conventions of opera and tragedy to present a searing representation of the embattled human psyche in space and time. While the ambitious multi-sensory artwork made use of the range of Daijing's artistic capabilities, music, particularly the voice, was at its formal and emotional core. The vinyl and digital release of Tissues on PAN serves as a record of that work, in the form of an hour-long audio excerpt: an invaluable archival document from Daijing's expansive live practice. Tissues is both a solitary work and a formal study in relation. Composed, directed, designed, written, and performed by Daijing (alongside a cast of twelve dancers and opera singers), the work_its libretto written in a mixture of old and modern Chinese_lingers inside a single human perspective. Daijing conjures states that are by turns delicate and severe, the tension between opposing modes animating the work as it unfolds. And yet, for all its interiority, Tissues foregrounds an intimate relationship with its audience through details like its engulfing visual landscape and its rattling, confrontational narrative arcs. Daijing uses the opera form as a prism through which to question the boundaries of music itself: perhaps, she proposes, music is much more than simply what is heard. It is in the relationship between voice and electronics that this limit is most clearly breached. Across the four acts gathered in this documentation, a counter-tenor, a soprano, a mezzo-soprano, and the artist herself voice a mixture of stunning laments and cries over an instrumental landscape, built out from industrial texture. Meant to be heard in a single listen, rather than track by track, the work unfolds through tender hollows and agitated peaks. At its crescendo, the operatic vocals melt away and the synthesizers themselves seem to howl with grief. Daijing uncovers an essential, sometimes painful, music in all that surrounds us, inviting something like catharsis but also a greater understanding of the thing she and her cast conjure and draw close. A tissue, after all, is both a disposable object one uses to wipe away a tear, and the building block of our fleshy human forms. Daijing reaches and excavates the roiling core of what it is to be alive and full of feeling. Music from Tissues, an opera of five acts at Tate Modern, London on Oct 2nd, 4th and 5th, 2019 Composed, written, produced and directed by Pan Daijing. Performed by Anna Davidson, soprano ; Marie Gailey, mezzo soprano, Steve Katona, countertenor and Pan Daijing, additional vocals. The recording is mixed by James Ginzburg , Jan Urbiks and Pan Daijing, mastered by Rashad Becker. *2xLP comes in a gatefold cover, and includes an obi strip and a booklet containing images from the performance & liner notes, as well as a postcard granting access to exclusive video documentation*
https://pan-daijing.bandcamp.com/album/tissues
|
2022 |
€26.50 |
|
| DARK MORPH (C.M.VON HAUSSWOLFF + JONSI [SIGUR ROS]) |
Dark Morph |
LP |
* Collaboration between Jónsi (Sigur Rós) and composer Carl Michael von Hausswolff
* Created as part of TBA21–Academy’s expedition program on the research vessel Dardanella
* Includes field recordings that were collected while visiting the newly established Tabu Site at Vanua Vatu Reef in Fiji which were then synthesized onboard Dardanella
* Original sounds recorded by Francesca Thyssen-Bornemisza, Jónsi Birgisson and CM von Hausswolff.
* Mixed at Gee Jam Studios, Jamaica.
* Mastered and cut by JAson Goz at Transition Mastering, London.
* Artwork by David Rudnick
* Black printed artwork with embossed outer sleeve
* 1 x 180g heavyweight black vinyl
* Ltd Ed of 1000
* Release date: 10/05/2019
This album is exclusively composed of recordings made during an expedition to Vanua Levy, Matangi, Vanua Balavu, Vulanga and Totoya in Fiji, except the voices of the Humpback whales recorded in Tonga, August 2018.
A1. SO(NG)QE
A2. URA DARDANELLA
A3. BEKA TOVUTO
A4. TOVUTO
B1. KAVURA
B2. WAI
B3. BANI MANUMANU
B4. BEKA YALO
https://thevinylfactory.com/product/dark-morph/
|
2019 |
€44.00 |
|
| DAS SYNTHETISCHE MISCHGEWEBE |
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 |
|
| DE FABRIEK |
Quatro-Erogenic-Occupy Theme's |
CD |
"I have been familiar with De Fabriek since the early eighties and have been intrigued by the constant changing of sounds, although they
sometimes went into directions that I didn't like. De Fabriek is one of those bands I am always keen to hear were the are now. I must
admit that in more recent years I kinda lost track on their releases (which if they are released on their own label are no doubt super
limited and hard to find), but this CD on Moloko Plus should be widely available. At the heart of De Fabriek we find Richard van Dellen, who invites various people to send in their sounds which he collages into the sounds of De Fabriek. We find here workers as Zan Hoffman, Alexander and Aleksy Chulkov, Berry Rikkerink, Olaf Seider
and Mitsumasa Miyazaki; a lot of new names for me. The music that De Fabriek offers us here is of an eclectic nature. From electro rhythm
pieces such as 'El Ninyo' to soundscapes of rain and synthetic ambience in the beautiful opening piece 'River Of Tears' and the industrial soundscapes of 'Bad Lands'. Music from De Fabriek is like a trip from the urban jungle to countryside jungle, music that sticks
inside the brain and puts the listener on the wrong track by being somewhere else then were you expect it. It carries some weak moments
(like 'Half Live') but they remain on the minor side. Overall a nice one, this one. Let's see where De Fabriek are next." [FdW/Vital Weekly]
Credits
Artwork by [Cover]: Robert Schalinski // Artwork by [Insert]: Mark Lane // Performer: Aleksey Chulkov, Alexander Chulkov, Berry Rikkerink, Mitsumasa Miyazaki, Olaf Seider, Richard Van Dellen, Zan Hoffman
Notes
Recorded at Fab Studios, Holland 1997 and at Gauge 24 Studio, Japan 1998. Completed in 1999. Comes in a digipak with a 2-sided art-sheet.
|
1999 |
€13.00 |
|
| 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 GUM |
Sleepy Town |
CD-R |
"Blurry, multi-layered, dreamy imagery for a dark city at a summer night which almost looks like a ghost town. Numb emotions and gentle touches guide you to a private wandering where materialism cannot be felt. It's a delirious battle inside your dream warrior head. Drift around without touching the ground, smell the transparent fumes, hear the city's most intimate secret noises, make your very own narrations until the death of night finally comes. It's meant to be listened as one piece at the recommended track order.
Limited edition of 50, packaged in jewel case w/ full color artwork on textured paper." [label info]
|
2013 |
€7.50 |
|
| 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 |
|
| DEAD VOICES ON AIR |
Fast Falls The Eventide |
do-CD |
"Fast Falls The Eventide is aural provocateur Mark Spybey’s 11th album as Dead Voices On Air, and across a multi-decade career stirring pots experimental, existential, and otherwise, his is a sound that summons any number of nocturnal beasties from the ether. Blink twice, listen carelessly and you'll fail to discern the minutiae Spybey meticulously works into every one of the 15 pieces sprawling across the first disc of this 2-CD set’s eminent domain. Spybey works hard at his art so you don’t have to: rather, as the listener, the participant, the absorber, it’s more important to ignore categorical tags such as “industrial”, “ambient”, “soundscape”, et al, and instead gorge deeply on a wriggling, sometimes confrontational puzzlebox of sounds erupting from a bevy of mysterious sources.
The title of this collection notwithstanding, Spybey’s been having his way with rhythm and noise for so long that the motifs he’s ascribed over the years are practically commonplace amongst the novice post-industrialist - or, hell, the post-whatever. Throughout the last 25-plus years, he’s plied his trade and remarkable sonic mojo both solo and in the company of many a forward-thinking electronic engineer, from guitarists such as Michael Karoli and James Plotkin, to fellow artisans like Skinny Puppy’s cEvin Key or Rapoon’s Robin Storey (with whom he feints sounds as Reformed Faction). It’s as Dead Voices On Air, however, that some of his most startling ideas emerge fully-realized and fully-armed; of course, to hear Spybey tell it, once art leaves the nest it’s up to (once again) the recipient to assume the role of engager: “My work is created in isolation from external references. That is the ideal I strive for. Only in this way is it possible to allow the listener an opportunity to create their own understanding of the music, or, as the artist Joseph Beuys once said, ‘One should resort to interpretation only in an emergency.’”
Perhaps. Still, there’s much expressive bounty to be gleaned from these dark, dusky, evening-soaked works, from the first disc’s mix of ethnological drum cabals, windswept electronics and scraped edits, up through the immense near-quarter-hour title track, which finds Spybey revisiting the mortal atmospheric coils of former colleagues :Zoviet*France:. And pulling the whole enterprise together is the second disc’s first-time digital unveiling of Spybey’s opening salvo, the 1994 cassette Abrader, in conjunction with two unreleased tracks originating from the artist’s early gestations featuring contributions from the aforementioned cEvin Key. New or old, Spybey’s continuing vitality ensures these Dead Voices remain gloriously alive and kicking.
Fast Falls The Eventide is a two CD set featuring the all new recording Fast Falls The Eventide on Disc 1. Disc 2 features the long out of print first release by Dead Voices On Air - Abrader - originally released in 1994 on cassette by Japan's G.R.O.S.S. label. This digitally remastered version of Abrader features two previously unreleased tracks featuring cEvin Key. Abrader and the two bonus tracks are only available on this CD release.
Packaging: 2xCD w/6-panel insert in jewel case featuring artwork by Mark Spybey
Release Date: September 15, 2009
Running Time: Disc 1 - 60:22, Disc 2 - 53:54"
[label info]
www.lensrecords.com
|
2009 |
€16.00 |
|
| |
The Light of June drowned Flowers in your Mouth |
LP |
Vinyl only.
Dedicated to all of the working people of the International Brigades, who fought so valiantly for the preservation of freedom in the Spanish Civil War, despite the refusal of their governments to recognize the threat of fascism.
credits
released September 1, 2009
Artwork – Mark Spybey
Design – Mary Cassidy (2)
Mastered By – Steven Seibold*
Music By – Mark Spybey
https://brudenia.bandcamp.com/album/the-light-of-june-drowned-flowers-in-your-mouth |
2009 |
€23.50 |
|
| DEATH & BEAUTY FOUNDATION |
same |
CD |
Noch bevor 1984 die ersten Aufnahmen von THE HAFLER TRIO das Licht der Welt erblickten, war H30-Mastermind ANDREW MC. KENZIE mit VAL DENHAM aktiv, einem britischen Transvestiten & frühen Industrial-Aktivisten der als Maler(?) & Artworker für TG, PSYCHIC TV, MARC ALMOND oder CYCLOBE tätig war. Die insgesamt 21 Stücke, die mit "Darlington Tapes" betititelt wurden sind hier nun erstmals auf einer CD zu hören - äusserst eigenwillige experimentelle "Songs" mit kruden Stimmverfremdungen und elektronischen Sounds, wie sie - etwas eleganter - z.T. auch auf die erste H30 LP "Bang! An Open Letter" oder die krasseren sprachbasierten NURSE WITH WOUND-Alben gepasst hätten. Auch über 20 Jahre später ist das noch absolut unzugängliche Anti-Musik, die sich nicht mit klassischen Maßstäben "bewerten" lässt, da es kaum Vergleichsmöglichkeiten gibt.
"... present the legendary "Darlington Tapes"recorded in 1982. At last, the sound of Val Denham and Andrew M. McKenzie's long awaited avant garde masterpiece for the bewildered is available after 26 years. Remastered, frightening and beautiful. The strangest album ever recorded. You have been warned." [label info]
" The Death & Beauty Foundation is an odd footnote in the history of The Hafler Trio. It's a project that began sometime in the early '80s presumably in and/or around Newcastle, UK featuring a young Andrew McKenzie (who later went on to found The Hafler Trio) and Val
Denham, a visual artist who has some history with Psychic TV, Marc Almond, and Cyclobe. Only a couple of compilation tracks of the Death
& Beauty Foundation had appeared on Touch cassette compilations, and a tape-only release emerged in 1986; but beyond that, the story to the Death & Beauty Foundation is pretty mysterious. This CD represents the complete 'Darlington Tapes' which the two began in 1982. Instead of the media-savvy collages and psychoacoustic investigations which The Hafler Trio mastered throughout the '80s, the Death & Beauty Foundation penned songs, really weird and fractured songs; but these are nonetheless tunes. A curious falsetto (which we're presuming to belong to Denham) floats in flanging tremolo haze above odd, Spartan electronics, sounding somewhat like "In Heaven" from the Eraserhead soundtrack, but ever more evasive and purposefully meandering. In line with primitive BBC Radiophonic tricknology meets Cabaret Voltaire cut- up methods, tape manipulations guide the bulk of the arrangements to that fluttering voice, with Shadow Ring like splutter across guitar and tin-can percussion on a few tracks. Some of the electronic sounds seem to have reappeared on the h3o album Sea Org; but those recognizable instances are few and far between in this confusing album." [Aquarius Records review]
www.somnimage.com
|
2008 |
€16.00 |
|
| DEATHPROD |
Occulting Disk |
do-LP |
OCCULTING DISK is an anti-fascist ritual. Recorded in Oslo, Reykjavik, Cologne, Berlin and Los Angeles between 2012 and 2019. It is the first Deathprod album to be released since the 2004 album «Morals and Dogma». Liner notes by Will Oldham (note: not the above below). LP cut by Rashad Becker at D&M, Berlin. Artwork by Kim Hiorthøy and Helge Sten.
“I remember driving over a mountain with my mother, she was in the passenger seat and we were being mauled and cuddled and battered and fried by sound; together. We were together experiencing something previously unimaginable, and we were facing the same direction, and we were moving through space and time knowing that a geographic destination some way ahead would bring an end. And the sound surrounded us, and for once our mutual silence was loaded with good. Because we were in the presence of each other, and we knew so much about how we had failed each other (it wasn’t a mystery any more), and we knew how we had maimed others when we worried too much about ourselves, how we had contributed to the faults of others simply by focusing in instead of out. Our mutual silences were laden with what that could only be called love. I used to hear love in music until I learned to hear love in sound. “ (Will Oldham)
Hinter Deathprod verbirgt sich der norwegische Musiker Helge Sten, seines Zeichens Ex-Mitglied bei Motorpsycho und Supersilent. Neben seinem Pseudonym Deathprod nahm Sten auch unter dem Namen Audio Virus als auch unter seinem eigentlichen Namen zahlreiche Alben auf. Zudem kollaborierte er mit Biosphere, Arve Henriksen, John Hegre, Lasse Marhaug, Sidsel Endresen, Christian Wallumrod, Nils Petter Molvær sowie mit seiner Frau Susanna Wallumrod, als Sängerin vor allem unter dem Namen Susanna bekannt. \"Occulting Disk\", das erste neue Album von Deathprod seit fünfzehn Jahren, ist ein antifaschistisches Ritual. Aufgenommen in Oslo, Reykjavik, Berlin, Köln und Los Angeles zwischen 2012 und 2019, ist es das erste Deathprod-Album seit \"Morals And Dogma\" aus dem Jahr 2004.
https://deathprod.bandcamp.com/album/occulting-disk
\"The Norwegian dark ambient artist Helge Sten, or Deathprod, is a master of atmosphere. Since 1991, he has been harnessing apocalyptic dread through immersive electronic sound design and bone-rattling live performances. For his first solo LP in 15 years—the follow-up to 2004\'s Morals And Dogma—the Oslo producer has conceived a politically minded album that considers the ways in which we confront fear and hate. The liner notes from Will Oldham dig deeper into Occulting Disk\'s political character. \"If you hear hate in the voice of another, it is your job, as the identifier, to address that hatred and reduce it by its opposite,\" he urges.
Stern expresses these political ruminations using a complex and chilling series of beatless, wordless tracks that command focus—his vision of ambient differs from Eno-led notions of the music as soft wallpaper. Occulting Disk serves a more confrontational, instructive purpose. Knowing the anti-hate messages at the album\'s core, it could be viewed as an amulet to ward off hate and bad energy, its unrelenting honks and bellows stirring up the hopeful sounds of protest. Stern\'s use of repetition is powerful and carefully considered, making space for deep thought and reflection.
Pockets of silence strengthen this concentrative quality. The opener, \"Disappearance / Reappearance,\" sends out a duo of ear-splitting foghorn blasts, an allusion perhaps to the album title\'s maritime reference—occulting light is a navigational beam used by ships. Thick walls of insectoid buzzing on \"Occultation 2\" urge you to step outside yourself, reeling you in with ugly-beautiful effect.
The LP summons a raft of mutated sounds from Stern\'s \"audio virus\" set-up—an array of electronics that has included homemade devices, tape echo machines, theremins and analog ring modulators—that feel eerily familiar and sinister. Case in point: \"Occultation 4,\" whose creaking, dissonant drones give the impression of dive bombers circling each other, while the weeping, warbling synths on \"Occultation 1\" are as evocative as human tears. The album\'s crushing \"Black Transit Of Jupiter\'s Third Satellite\" is a tidal wave of distortion, suggesting a final evacuation of dark energy. Stern\'s gift is to make that feel both unsettling and immersive.\" [Resident Advisor]
|
2019 |
€24.00 |
|
| DEISON |
Substrata |
10inch |
"Italy's Cristiano DEISON enriches the experimental sound and noise art community with his releases and various collaborations (lately with JOHN DUNCAN, GIANLUCA BECUZZI and K.K.NULL) for more than 20 years, but seems to be still undiscovered by too many listeners. "Substrata" collects three extremely crystalline and immersive drone pieces based on prepared tapes, metals, strings, wires and electronics... imagine a forest glade in moon-light with cold white sonic radiations, half-frozen calyx are clanging at each other, liquid metallic forms appear and disappear, hypnotic slow motion pulses suck you into.. "something"... these are incredible strong, deep and complex drone compositions, drones with the spirit of the "Noise Culture" - using "fragmentation, collage, arrangement and layers", as Germano-Chinese philosoph Lutz Schridde puts it.
Sounds of elementary transformations, metamorphosis, and overcoming the usual sense of time: "..where sounds are conceived as they are “excavated” from the earth beneath our feet “Terra Firma” (erosion) and then taking to the light (awakening); it describes its interior solid surface (“Prima Materia”), the
primitive formless base of all matter similar to chaos, the quintessence or aether." [Cristiano Deison]
ed. of 300 copies pressed on transparent green vinyl, artwork Cristiano Deison, 32. min playtime
https://soundcloud.com/drone-records/deison-substrata-side-a |
2020 |
€15.00 |
|
| |
Any Time Now |
CD-R |
"Recorded and mixed in the last 3 years “Any Time Now” is the new solo studio work by Deison after several collaborative projects (with Mingle, Maurizio Bianchi, Uggeri, Favaron); the record is focused on small sounds, interferences and long slow-moving drones captured to explore the perception of time.
It’s a dirty electronica to suggest a different listening, any time…now!
Involved in the noise electronic area since 1991, (he played loops and voice in Meathead during 90's) he approached the world of sounds doing self released cassettes doing his own tape collages with some tape recorders, turntables and objects mainly in the field of noise and power-electronics; he established a small label (Loud!) and began to collaborate with artist like Lasse Marhaug, KK Null, Shee Retina Stimulants, etc... Influenced by the electroacoustic music, ambient minimal electronic as well as a great interest into digital music and sound design then he operated with samplers and field recordings. On Loud! he has released a couple of 7" singles and a record with Thurston Moore (Sonic Youth), plus a lot of compilation appearances . His first cd "Dirty Blind Vortex" has been released by Crionic Mind (usa). New releases show the new sound direction taken by Deison: calm waves of looping deep ambient scapes, penetrated with sample fragments and light additional noise-ambient textures form a silent, minimal frame-set. Experience this new imaginary movie soundtrack. His works have been released on Silentes Records (Italy), Aagoo (U.S.A.) and new collaboration works emerged with Candor Chasma, Sara Galan and Mingle. He also contibutes sounds for his more dark-ambient duo Cinise (with G.Santoro). He works as a dj in a indipendent local radio (Loud! radio show) playing electronic, avantgarde and experimental music and is a co-fouder of Final Muzik label.
Sounds recorded,assembled and processed by Deison (2013-2016)
Deison: electronics,field recordings,tapes,objects,synths
Ennio Mazzon : electronics on "Blissfull Moments"
Andrea "Mingle" Gastaldello : piano and synth on "Motionless pt.1 and pt.2"
Israel Martinez : field recordings on "Motionless"
Mastered by James Plotkin
Artwork by Andrea Maioli [Kanaka Project]
mfu/c 009 - L!CD09
100 copies // digipack//cd-r//limited edition
www.manyfeetunder.eu
www.deison.net
https://deison.bandcamp.com/album/any-time-now
|
2016 |
€10.00 |
|
| DEISON / GALAN |
Cayendo |
CD-R |
“One meeting, one recording: 8 tracks. A cello mixed with dirty electronics”
In summer 2012 Deison meets in Spain Sara Galan, a cello artist based in Valencia.
In this meeting they decided to record some stuff together: some cello ambient drones
have been mixed with filed recordings, tapes and electronic sounds.
This improvised material was first inspired by the sentence repeated in loop for days:
“Earth swallow me” (”Tierra tragame).
And then the concept leads to internal sounds, sound from stomach, sounds from the throat. Visceral sounds also connected with earth, sand, mud and desert.
Audio material has been manipulated and assembled in winter for a release on Loud! label, Deison’s personal record label re-activated after a long silence.
Francesca Mele provided the perfect visual imagery for the cover artwork with her b&w photography and Gianluca Becuzzi (Limbo,Noise Trade Company) mastered the album with his perfect touch.
https://deison.bandcamp.com/album/cayendo |
2013 |
€10.00 |
|
| DEISON / MAURIZIO BIANCHI |
White Landscape |
CD |
Final Muzik presents the second collaboration between two well-known Italian experimental/electronic music composers, Deison and Maurizio Bianchi (M.B.). This is their second album together, after "Black Panorama" CD (still on Final Muzik, 2015).
"White Landscape" has been recorded between 2015 and 2016; Deison did the final mix of the album at his 1st Floor Studio in May 2017.
Photo by Sandra Tonizzo. Artwork by Deison.
“After having spent an imaginary lobotomized hibernation in the darkest bush, the constant search for bright oblivion led us to luminescent scenarios, and the result was this illuminating four-handed work that fulfills our desire for clever experimentation. The attentive listeners will be truly enlightened.” (M.B.)
https://deison.bandcamp.com/album/white-landscape |
2020 |
€13.00 |
|
| DEL (DRONE ELECTRIC LUST) |
Villa Graps |
LP |
"Four songs recorded back in 2006 and reminiscent of early DEL, i.e. like a dirty wound that looks cool and doesn't hurt enough for you to want it to disappear.
Pressed on 180 gram vinyl and packaged in silk screened sleeves with fluorescent artwork featuring some of the band's favorite film babes.
With Kjell Runar Jenssen, Lasse Marhaug, Fredrik Ness Sevendal and Per Gisle Galåe."
www.apartmentrecords.com
|
2010 |
€15.00 |
|
| DESACCORD MAJEUR |
La Coulour Odorante |
CD-R |
Eine weitere Wiederveröffentlichung in der Kokeshidisk-Reihe, erschien im Original 1998 auf MC beim Taalem Vorgänger-Label HARMONIE (harm09). Das Tape der markanten französischen Ethno-Elektroniker war eine Zusammenstellung aus älterem Compilation-Material 1990-1995, plus zweier unveröffentlichter Stücke von 1989.
"reissue of the tape released in 1998 on our previous label Harmonie, "la couleur odorante" gathers eight tracks previously released on various international compilations from 1990 to 1995, showing the evolution of Desaccord Majeur music & sounds with more and more ethnic influences while keeping a melodic and evolutive structure. this reissue includes two previously unreleased track from 1989 (one of the first Desaccord Majeur tracks, very ambient) and 1993 (more in the ethno-ambient sounds he's known for). full color pro-printed A5-sized cardboard cover in a plastic sleeve & full printed cd-r with artwork by cyril herry."[label info]
|
2006 |
€9.00 |
|
| DEUTSCH NEPAL |
Vol. 1 |
6 x LP - BOX |
Standard edition. Limited to 435 copies. Six vinyl records on individual sleeves, three postcards set, numbered certificate and one sticker.
Peter Andersson, aka Lina Baby Doll, is the man that sustain the heavy structure behind Deutsch Nepal. A legend in the scene of industrialism, avant-garde, music and art in general. He is capable to re-create and re-design old school industrial and electronica, taking elements from apparently dissimilar concepts such as Dadaism and Tribalism, or “contradictory” ideas such as Heathenry and Christianity and converge them into a typical cocktail blend that characterises a unique and now famous style. Manic rhythmic redundancies, strange indefinable samplers, metallic sounds, distorted guitar chords are common elements found in all his works. His main goal?. Mesmerize the listener to subjugate the mind and put the spirit into reverberation mode.
It is difficult to reduce his works to a simple description. All of them seem to be the evolution of an early idea, a baby that grows old, getting monstrous and divine while doing so. The music itself is a never ending universal paradox in where beats and rhythms have a primary role. Deutsch Nepal is surreal landscapes strongly conducted and cut through with the violent and precise pounding of the repetitive aspect of percussion. It’s a black and white obsession, changing shapes and tonality.
This boxset compiles the first five albums released by Deutsch Nepal throughout the 90’s (“Deflagration of Hell”, “Benevolence”, “Tolerance”, “¡Comprendido!... Time Stop! ...And World Ending” and “Erosion”) plus an extra record (“Dystopian Selection”) with a selection of tracks taken from old compilations.
Deflagration of Hell LP
A1. Deflagration Of Hell
A2. Execursioner Angel
A3. Holistix - Links between God and Human
B1. Glimpses Of War Part. I & II
B2. The Heirophants Of Light
B3. Energy - Not Orgasm
Benevolence LP
A1. Impassive Metal Sex
A2. Angel Impact
A3. Benevolence (Of The Fittest God)
B1. The Fire Within My Cold Heart
B2. Carrions Still Walkin’
B3. Mantra
Tolerance LP
A1. Horses Give Birth To Flies
A2. Manual To Utilization
A3. Chip Chop
B1. The Eagles Gift
B2. Nonexistance
B3. Deathmanners
¡Comprendido!... Time Stop! ...And World Ending LP
A1. Benevolence -92
A2. Thomas 29 Needles
A3. World Mirror
B1. Gouge Free Market
B2. Tender Lover
B3. Pain Is The Language We Use
B4. The Phlegethon Fish
B5. Auto Gamic Drummers
Erosion LP
A1. Erosion
A2. Surgery II
A3. Faint Retard
B1. Collapsing Surface
B2. How Low…
B3. You're Just A Toy
Dystopian Selection LP
A1. Bausteine Der Zukunft
A2. Logo
A3. Master of Disguises
B1. Razor In Motion
B2. We Are The Angels (Gabriel)
B3. Poison Free Market
Description text based on a review written by Ayax Gudziol.
Artwork by Oleg Galay.
|
2023 |
€123.00 |
|
| DI CROCE, NICOLA |
Clinamen |
12inch + artwork |
download + handmade artwork curated by Caterina Gabelli, ltd. 111 copies
The concept of "clinamen" derives from Lucretius's "On the Nature of the Universe", and describes the swerve of the atoms from their original straight course. Such deviation generates collisions, and allows changes in the relationship between elements. By using the metaphor of clinamen, the album narrates the process of inventing by diverting from any usual methodology, thus encountering unpredictable solutions. The music combines different commissioned sound works together with field recordings from various mediterranean cities, and the unique timbre of Gabriele Mitelli's trumpet.
Compositions and recordings: Nicola Di Croce
Featuring. Gabriele Mitelli
Mastering: Anacleto Vitolo
Cover: Caterina Gabelli
13.silentes.it/private_sounds/sps1826_nicola_di_croce_clinamen.htm
|
2018 |
€24.00 |
|
| |
Istruttiva Serie |
LP |
Istruttiva serie is a non-linear path progressing by attempts. A limited number of non consequential exercises about re-elaboration and evocation. The sound material comes from field recordings (recorded in Italy in 2014) and folk guitar. The main purpose is to investigate the constant encounter and collision between field sounds and melody by developing an acoustic stream which aims a perceptual redefinition. As “not completed” doesn’t mean “lacking” every track is here a personal exercise challenging perceptual aesthetic.
Istruttiva serie comes in a limited edition 12” LP, mastered by Giuseppe Ielasi, featuring cover and poster illustrations by Caterina Gabelli and layout designed by Giulia Dolci.
Liner notes are curated by France Jobin.
Edition of 150 copies on black.
Nicola Di Croce is a Venice based architect, musician, composer and scholar. His main research deals with the relation between territory and sound. The listening and field recording practices lead together to a new perception of the environment, where the sound language becomes a narrative and design vehicle; fragments to be re-mixed as the essential tool for the understanding and the redefinition of the environment.
Black vinyl LP 12'', featuring cover and poster artwork by Caterina Gabelli.
Layout by Giulia Dolci.
Liner notes by France Jobin.
150 copies on black.
https://kohlhaas.bandcamp.com/album/istruttiva-serie
|
2015 |
€16.00 |
|
| DIE FORM |
Die Puppe |
LP |
"Die Form is a French post-industrial and electronic band formed in 1977. The name ‘Die Form’ means ‘(the) form/shape’ in German, like the Bauhaus diary and is a play on the English homonym ‘deformed’ and on the French homonym ‘difforme’ (deformed). Die Form is the primary project of electronic musician and multimedia artist Philippe Fichot. He began by recording a number of experimental cassette releases in the late 1970s and formed the Bain Total label to release these early cassettes and various side projects including Krylon Hertz, Mental Code, Camera Obscura, Eva-Johanna Reichstag, Hurt and Fine Automatic.
In 1982 Die Form released their debut vinyl album, “Die Puppe” in a limited edition of 1,000 copies. These are the first esoteric electronic experiments, often improvised, from what would become the sound of the project. Underlying themes of eroticism, death and other ‘taboo’ subjects are apparent in both the music and the album artwork, which Philippe also produces. The album was recorded with entirely analog equipment (Roland MC4 Micro-Composer, TR-808 Rhythm Composer, ARP 2600, Kawai 60F, Revox B77). Songs range from hypnotic, minimalistic proto-IDM to pure, daring experimental sound manipulation. Unable to fit into any genre, “Die Puppe” is in a class of music all its own.
All songs have been remastered from the original master tapes for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is an exact replica of the original 1982 edition designed by Philippe Fichot, with a photograph of a porcelain doll holding a syringe. Each album includes two post cards with never before seen photos of Philippe with lyrics and liner notes by the band. Prepare to indulge your lustiest hedonistic fetishes." [label info]
www.darkentriesrecords.com
|
2015 |
€18.50 |
|
| |
Ad Infinitum |
do-LP & BOOK |
Die Form is the seminal post-industrial electronic act started in the late 70’s by French musician and multimedia artist Philippe Fichot. He began recording a number of experimental cassettes under different names but Die Form became the main project and with which he has developed a prolific career during more than four decades. Whilst the project was still in its first stage, the underlying concepts were already evident: a combination of esoteric electronic experiments with an underlying theme of eroticism, death and other taboo subjects, apparent in both the music and artworks.
“Ad Infinitum” was recorded with dark and stifling atmospheres almost simultaneously with the album “Confessions”. It includes cult pieces such as “Bite Of God” and “Chronovision”, which has made the success of Die Form in clubs, alongside more ambient and industrial tracks such as “In The Evening Of Life” or “Unlimited”.
“Ad Infnitum” was originally released on CD in 1993 by Hyperium Records and now is available for the first on vinyl record. This new edition includes the complete original track list plus a selection of instrumental versions and unreleased tracks from the same period. Limited edition of 474 numbered copies on double vinyl with a deluxe 16-page casebound hardcover book featuring unpublished images as well as other reworked photographs taken from “The Visionary Garden”.
"In praise of the shadow, fascination with the machine, attraction and repulsion, litany and liturgy, funeral Eros…"
“The taboo leads to transgression ... The taboo transgression spellbinds” (Georges Bataille)
https://mecanica.bigcartel.com/product/dieformadinfinitum |
2021 |
€55.00 |
|
| 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 |
|
| DORELLA, BRUNO |
Paradiso |
CD |
Italian musician and producer Bruno Dorella guides us to \"Paradiso\", his new solo album, with the music for the homonymous choreographic project of gruppo nanou, to be released on CD and digital on November 25th, 2022 by the independent label 13 / Silentes.
\"Paradiso\" was born for the choreography of the new show by gruppo nanou, a contemporary dance and performing arts company, founded by Marco Valerio Amico, Rhuena Bracci and Roberto Rettura. The collaboration between Dorella and the company has started almost a decade ago and over time has also involved Ronin and OvO, the main bands of the Ravenna-based musician - OvO were on stage in 2021 for Canto Primo: Miasma | Arsura, an encounter between sounds and infernal images, with Dante\'s recurring reference.
But there is more than this. \"Paradiso\" is also the first electronic music album made by Dorella who, during the lockdown period, focused himself more and more on softwares. The tracks are composed according to the bodies and the choreography of the show. Dorella says: \"The composition took a long time. The choreographic needs, and the effect of music on the bodies, often led me to think with a broader perspective. Me and the members of gruppo nanou started the work from mutual suggestions and gradually we understood each other faster and faster. We defined a common conception of rhythm, deciding to work on apparently \'off-grid\' rhythms, creating the illusion of something wrong together but perfectly timed. In reality, these rhythms are parallel planes that travel in time with each other, even if out of phase.\"
\"Saturno\" is the first single taken from \"Paradiso\" and contains the fundamental elements of the entire work. That is, parallel, overlapping, sinuous rhythms, apparently out of phase but which \"turn\" together. In addition to abstract guitars and breath as the only source of voice.
According to gruppo nanou: \"Bruno has composed a choreographic work. We have verified together how sound can accommodate the body and be in dialogue with the scenic action. It was a transitive operation between scene and sound, bodies and the material density of sounds, vibrations and motion. The beauty of this musical work is that it is concrete matter and at the same time it is a precise thought. All the rules and limitations that we set for the creation of the show - regarding choreography, sound, lights and scene - have managed to be assimilated to become creative resources and therefore to become exact viscera.\"
The journey of \"Paradiso\" is articulated into thirteen tracks and ends with the title track, which is also the brand new single from the album and the only episode that can be assimilated to an \"alien\" song-form, featuring Francesca Amati (Comaneci) on vocals. Dorella speaking: \"We always thought that, at a certain point, we needed a \'song\'. With Francesca there is a long-standing collaboration and gruppo nanou loves her tone of voice, so it has always been clear that she would be the one to sing the song. But she had to do it in a non-existent and unidentifiable language. So, I broke down the syllables of what Francesca had sung, recomposing them with a new result.\"
In Dorella\'s long and eclectic career, \"Paradiso\" is only his second solo record, following \"Concerto per chitarra solitaria\", created for a contemporary classical music festival and released in 2019 by Bronson Recordings. \"I always thought of ensemble music, never really in the solo dimension, and I always imagined that if I ever made a record on my own and with my name on it, it would be related to pure composition\", Dorella explains. Active since the late 90s, Bruno Dorella is also known under the pseudonym Jack Cannon and was a member of Wolfango, as well as founder of OvO, Ronin and Bachi da Pietra, and more recently of Tiresia and the GDG Modern Trio, as well as an element of Sigillum S. \"Paradiso\" is the first record that testifies his experience in the field of theater music, developed through collaboration with various theater and dance companies.
\"Paradiso\" is a collective effort among the contemporary research dance company gruppo nanou and the artist Alfredo Pirri. Its path begins in 2021 and continues until July 2022 through appointments, called sketches, intended as the progressive deepening and development of research and tests for the construction of a performative process that removes the concept of the beginning and end of a performance, as well as its front use.
The space is intended as an active place in which to immerse oneself, creating an impromptu community that accesses the performance as it happens in a museum exhibition. \"Paradiso\" is the beginning of a common journey starting from the Third Canticle of Dante Alighieri’s Commedia; as a paradise, it is an elsewhere space, inhabited by light and evanescent figures; a long cinematic shot in which to immerse yourself thanks to the music of Bruno Dorella. The stage space consists of a mirrored dance floor obtained by combining different layers of silver and gold carpets where reverberating spaces and territories, intertwined and choreographed by gruppo nanou. Indirect lighting allows the carpet to reflect the surrounding space, welcoming it inside visually and creating a floating perception and making the floor like a pond where the bodies in movement flake with evanescent contours. The place determines each time the use and arrangement of the scene created by Pirri; the space, as well as the bodies and the light, is reflected by the mirrored surface of the carpets, redesigning the geometry of the space itself. For this identity of relationship between place and scene, each Paradise is unique and unrepeatable, thus finding the impossibility of describing a Paradise uniquely, as Dante wrote in the beginning of the Third Canticle.
The gestures lose all trace of naturalism to turn into an abstract choreography, whose meaning is in the desire to bridge the distance between the gaze (of the viewer) and the bodies in action. The limit of the backgrounds is forced, torn, deteriorated by the body that attacks it with its choreographic action. The choreographic images are produced “accidentally”, and the bodies are immediately pulverized thanks to the process of abstraction that produces pure plasticity that surpasses all other instances. The evidence of every research step or residency is called sketch and, even if is still a studio form, it shows how the performative device works on the space, its architecture or lack of it, recreating and rethinking both the stage and how the audience interact with it. As it will be in his final form, every sketch is different from the others; not a step forward but a step in deep the research. In each different spaces there will be different sets and choreographic compositions. A difficult experience to tell.
Album credits:
Music composed, played, recorded and mixed by Bruno Dorella
Mastered by Giuseppe Ielasi
Vocals on 6 & 13 by Francesca Amati
Vocals 4, 9 & 10 by Elisabetta Da Rold
Voices treatment on 1 by Bruno Dorella & Giovanni Lami, 5 includes parts of Old Vogue Dancer by Bruno Dorella, 11 includes a sample by Stefano Ghittoni
Layout and artwork by Marco Valerio Amico
Photos by Daniele Casadio
Project credits:
Project: gruppo nanou, Alfredo Pirri, Bruno Dorella
Choreography: Marco Valerio Amico, Rhuena Bracci
Scenic space: Alfredo Pirri
Music: Bruno Dorella
Lights: Marco Valerio Amico
Colors: Marco Valerio Amico, Alfredo Pirri
Costumes: Rhuena Bracci
With Carolina Amoretti, Marina Bertoni, Vera Borghini, Rhuena Bracci, Francesca Dibiase, Andrea Dionisi, Agnese Gabrielli, Marco Maretti, Emanuel Santos, Sofia Pazzocco, Michele Scappa
And the graduates (2019) of the Post Diploma – Dance Course of the Civica Scuola di Teatro “Paolo Grassi” of Milan: Livia Bartolucci, Alessandra Cozzi, Elisabetta Da Rold, Agnese Gabrielli, Nicolò Giorgini, Simone Mazzanti, Camilla Neri, Francesca Rinaldi, Pablo Ezequiel Rizzo, Bruna Romano
Production: Nanou Associazione Culturale, Ravenna Festival
Contributon: MIC, Regione Emilia-Romagna, Comune di Ravenna, Fondazione del Monte di Bologna e Ravenna
Collaboration: Civica Scuola di Teatro “Paolo Grassi” di Milano
Support: Centro di Residenza della Toscana (Armunia-CapoTrave/Kilowatt), E Production, ATCL Circuito Multidisciplinare del Lazio per Spazio Rossellini Polo Culturale Multidisciplinare della Regione Lazio, C.U.R.A. Centro Umbro Residenze Artistiche, Spazio ZUT!, Indisciplinarte, La Mama Umbria International
https://brunodorella.bandcamp.com/album/paradiso
13.silentes.it/private_sounds/sps2258_bruno_dorella.htm
|
2022 |
€12.00 |
|
| DRCARLSONALBION |
La Strega and the Cunning Man in the Smoke |
LP |
"Known as “the doom metal innovator” for fronting drone ambassadors Earth, Dylan Carlson now brings his solo career to our very own Latitudes series. Featuring artwork by Battle Of The Eyes and released in a limited run of hand numbered and hand packed green 180g vinyl (green or white) and CDs (1000 of each).
Subsequent to his first release under the moniker of Drcarlsonalbion, the legendary Dylan Carlson visited Southern Studios to record an exclusive session amidst his spell in the UK researching folklore and faire folk of the British Isles. Drcarlsonalbion sees Carlson experimenting further with field recordings as he re-renders traditional folk as well as contemporary songs with his unique drone sound which has ever so long been allied to the mighty Earth. Joined by Teresa Colamonaco on vocals and Jodie Cox on guitar, the trio unite to bring a restrained majesty to the reworking of shared favorites, including Last Living Rose by PJ Harvey, resulting in an immensely special Latitudes release indeed.
Six covers/arrangements and one original composition recorded during his research into faire folk and collation of field recordings in the UK." [label info]
http://shop.southern.com/latitudes/
|
2012 |
€18.50 |
|
| DREAM WEAPON RITUAL |
The Uncanny little Sparrows |
CD |
"Formed in November 2006, Dream Weapon Ritual is the duo of Simon Balestrazzi and Monica Serra. They play free-form music that draws equally from droning electronica soundscapes and imaginary folk visions.
Simon Balestrazzi is an electronic/electroacoustic composer and sound artist active since the 80's. He released many albums and performed live around Europe under various names.
Monica Serra is a talented actress whose artistic research led to double as vocalist since 1999. Both are members of the long-lived Italian cult band T.A.C. (Tomografia Assiale Computerizzata).
Togheter as Dream Weapon Ritual they released their music through Radical Matters, Old Europa Cafe and Magick With Tears.
All music by Dream Weapon Ritual
Mastered by James Plotkin
Masks by Gabriela Mulas
Photos by Franco Casu
Artwork by Daniele Serra"
"Gut drei Jahre nach „Ebb and Flow“ lassen die beiden Multiinstrumentalisten Simon Balestrazzi und Monica Serra zum fünften Mal von sich hören und erzählen mit allerhand schrägen Ideen im Gepäck die Geschichte einer Gruppe von unheimlichen kleinen Spatzen – das klingt auf den ersten Blick vielleicht nach Ironie und Spielerei, v.a. wenn man von dem hierzulande üblichen Image dieser nicht gerade gruseligen Vogelart ausgeht. Doch „The Uncanny Little Sparrows“ lädt nicht gerade zu letztgültigen Interpretationen seines Inhalts ein, und das ist auch gut so.
Bei dem langsam an- und abschwellenden Drone, das an elektrisch aufgeladene Harmoniumklänge erinnert, den trunkenen Echolalien undeutbarer Stimmen, dem Rasseln und Scheppern und den seltsamen Bläserklängen des eröffnenden „Bird Mother“ zeigt sich schnell, dass die beiden sich in grundlegender Hinsicht treu geblieben sind, denn ihre „Freeform-Musik“, die ebenso von dröhnender Elektronik wie von folkigen Spuren durchdrungen ist, bewegt sich in den bekannten Bahnen, die quer durch moderne und primordiale Gefilde führen. In diesem Rahmen kommt es aber zu einigen Verschiebungen, denn auf den neuen Stücken scheint die Musik noch um einiges unregelmäßiger und unruhiger als auf den Aufnahmen zuvor. Kratzige Spielereien, eventuell erzeugt mit dem von Massimo Olla entworfenen [d]Ronin, allerhand Gereusel und geheimnissvolle Perkussion rufen Balestrazzis Projekte Hidden Reverse und A Sphere of Simple Green in Erinnerung, bei der Mischung aus untergründigem Brummen und falsettigen Hochtönereien denkt man vielleicht an so unterschiedliche Musiker wie Ka Baird oder die viel zu wenig beachteten Mailänder Sothiak – Vergleiche, mit denen nur eine vage Richtung angedeutet sein soll.
Deutlich erkennbare Vogelstimmen treten erstmals in dem kurzen, in einem seltsam schleppenden Rhythmus hinkenden „Mating Call“ auf den Plan, wo sie sich sanft und verhuscht in mysteriöse Rückwärtspassagen einweben. In dem folgenden Track, der von „zwei kleinen Spatzen, die auf einem Zweig sitzen und auf die Erleuchtung warten,“ kündet, erinnern sie eher an übermütige Spechte. Weiter geht es durch noisige Gefilde, in denen man nicht mit dem Klang orientalischer Flöten gerechnet hätte, hin zu einer Urwald-Kulisse, in der ekstatische Perkussion und tremolierende Stimmen wie das Echo eines schamanischen Rituals wirken. „The One with the Iron Beak“ ist das letzte Stück betitelt, und wieder beschleicht einen der Verdacht, dass all die tiefschürfenden rituellen Elemente, die ebenso wie rhythmische und melodische Pop-Ansätze um jede zweite Ecke lugen, zwar auch, aber nicht nur mit erhabenem Ernst eingebracht werden.
Das Album erschien jüngst bei Boring Machines als LP mit achtseitigem Booklet und ist darüber hinaus natürlich in den üblichen digitalen Formaten zu ergattern." (U.S./African Paper]
|
2018 |
€16.50 |
|
| DRØNE / DROENE / DRONE (MARK VAN HOEN / MIKE HARDING) |
Mappa Mundi |
CD |
This the first CD released by drøne, after two vinyl albums on Anna von Hausswolff's label, Pomperipossa. In a 5” jacket with artwork and font by nico, who also provided the hand-written text for the vinyl artwork for the 2015 and 2016 releases, “Mappa Mundi” traces and describes audio surrounding and occupying the planet earth.
Workers toil in smithies, call signs and chants-at-prayer reveal attempts to order the chaos, which always remains one step ahead. Post-lapsarian for sure, but smoke signals and drums have morphed into the ‘bing bong’ of the attention-grabbing, mind-polluting PA system. The coded simplicity of the whistle (“Start!”) has evolved into a more deliberate attempt to control rather than inform by explicit, structured language. Announcements have become commands; signs bark orders. Thus ‘no’ becomes a powerful rejection, rather than merely a preference; and no-ers are more easily to spot… “You’re going the wrong way”! (To which the only sensitive and mature response is: “Good!”)
Call signs, IDs, audio sigils and signatures all combine to describe a polluted, confusing atmosphere which threatens to leave us powerless and bewildered. "Decipher the sounds and you win the game! First prize is, guess what? You get to take the audio poison! Congratulations! You’ve lost!”.
The first album, 'reversing into the future' drew this response from Lend Me Your Ears: "This thrilling piece – surely the most kinetic non-dancefloor record in an age". Anna herself wrote of the follow up record, 'a perfect blind': "I love everything about this release. Such a great presentation and exciting project! And most important: the music is sublime."
The Quietus wrote: "Last year's distinctive debut from drøne was likened to a hurtling journey. It's combination of field recordings, shortwave radio and modular synths possessed an excited, driving energy whose route was hitherto unexplored and destination unknowable. But with an expanded sound pool boasting instruments across the ages - from guitar, through pipe organ and strings to dulcimer and psaltery – its follow-up takes a sideways step into more cognizant, reflective pastures.”
|
2017 |
€10.00 |
|
| DUBIT |
Vitriol |
CD |
Spiritual research and constant need for inner transformation. These are the key elements in the compositional style of Dubit, Pier Alfeo's moniker, the Apulian countryside-based electronic musician and producer whose Backwards is proud to issue "Vitriol", his second full length.
This ten-track album, which resumes the Backwards' CD-series started in 2013 with Fabio Orsi's “Endless Autumn”, has taken more than one year of work, using both analogue instruments (such as Spring Reverb, pedals, [D]ronin, Moog etc ...) and digital synthesis techniques. For its realization, Dubit also built by himself acoustic instruments composed of metal elements, strips, strings, barrels, amphorae as resonance boxes, and used prepared pianos, traditional Spanish instruments, didgeridoo, harmonica, snare drums and cymbals as well.
As in an alchemical process made of sounds, “Vitriol” blends in with powerful dark ambient, post-industrial music, some elements from techno and field recordings, drawing distopic landscapes in the sky. It's as if Raison d'être met Shackleton in the recording room to create a soundtrack for the end of the world. “Vitriol” comes in an edition of 500 CDs. Released in a matt-varnished ecopack. Artwork by Italian illustrator Master Easter.
Pier Alfeo, aka Dubit, lives for a few years in Berlin, where he leaves the sign by founding the label Several Reasons Recordings and Soluxion Lab mastering and sound design studio. After a series of singles and Eps, Dubit comes to his first full length “Fragmenti”, a large and articulated album in which he examines the particles of our everyday reality in relation to time, space, our inner experiences and primordial fears that hold us back.
Towards the middle of 2015, he returns near Bari where he starts composing his new record “Vitriol” and in 2016 he begins his course in Electroacoustic Composition, Multimedia and Music Computer Programming at the Electronic Music School in the Bari Conservatory. During his studies, he continues his specialization by designing Sound Art installations, studying and interpreting Acusmatic Music at Acusmonium in the “Space Silence” in Bari and creating Electroacoustic pieces through algorithmic compositing techniques.
www.backwards.it/releases/vitriol/26/
|
2017 |
€10.00 |
|
| DUET EMMO |
Or So It Seems (double white vinyl - special ed.) |
do-LP |
DUET EMMO (The Normal’s Daniel Miller, and Wire’s Edvard Graham Lewis and B.C. Gilbert) have released the long-awaited remastered reissue of their 1983 album, Or So It Seems.
Or So It Seems has been remastered from the original analogue tapes by Stefan Betke. Available on vinyl for the first time since its original release, the album has been expanded to double vinyl and is released on special edition white vinyl, as a limited edition of 400 on orange vinyl via Bleep (both with high-definition download), CD and digitally.
The original 8-track album, an assemblage of electronic sound collage, drone and abstract art pop, is perfect for re-appraisal, having been previously a somewhat overlooked album from its makers catalogues. Daniel Miller (The Normal / Silicon Teens and founder of Mute), Edvard Graham Lewis and B.C. Gilbert (of Wire, Dome and solo projects) were busy with their own individual work but made time for the new trio to record in the periods between Boxing Day and New Year’s Day in ’81 and ’82 – the a-side was recorded in ’81, the b-side followed in ’82 – with legendary engineer Eric Radcliffe at their favoured studio, Blackwing in London.
Duet Emmo’s pioneering hybrid electronics are mirrored in the project name – an anagram of Mute and Dome – and in the album’s striking artwork, a collage by supreme animators and filmmakers, the Brothers Quay redesigned by Bart van Damme.
OR SO IT SEEMS TRACKLISTING:
Hill Of Men
Or So It Seems
Friano
The First Person
A.N.C.
Long Sledge
Gatemmo
Last’s Card
|
2022 |
€42.50 |
|
| DUNHAM, KEVIN HENRY |
Sol Evocations (Live From Tio Gordos Cantina Exotica) |
CD |
K. HENRY DUNHAM, of ambient project Our Lady of the Flowers, releases his solo debut, "Sol Evocations", a continuation of the quantum mysticism and musical techniques explored in last year's "Holiday in Thule". Where Thule is a celebration of the solemnity of dark winter days, "Sol Evocations" is a call to the long pulsing light of the sun. This romp through archetypal collective mind spaces was distilled from a 13-hour live improvisational set, with the intent of providing low volume background sounds to accompany an art show and film festival in Port Huron, Michigan. By employing cut up techniques, solar and ionic samples, Schumann Resonance, field recordings of sacred rites and mythic teachings, and lo-fi electronic devices, a movement of music issues which calls the sun to illuminate these troubled times. Additional infrasonics and spectral processing by A601-2 and Toshimitsu Osawa. Artwork by Stefano Gentile.
13.silentes.it/private_sounds/sps2035_k_henry_dunham.htm
|
2020 |
€13.00 |
|
| DURAND, WERNER |
Schwingende Luftsäulen 2 |
CD |
"Werner Durand Schwingende Luftsäulen 2, the second chapter dedicated to Durand's music applied to the Pan-Ney, the wind instrument of his own invention. With gorgeous artworks by Karlheinz Bux and extensive liner notes by Adelio Fusé. "Schwingende Luftsäulen 2 is the second chapter of a trilogy featuring the Pan-Ney with its tubes or columns of vibrating air (Schwingende Luftsäulen, in fact). This second chapter, in which the Pan-Ney is flanked by the tenor sax, reconnects where the first one ends (ANTS, 2017), and proceeds along a path that is coherent and uniform, and whose imaginative ideas go beyond the strictly musical sphere. (...) Wald (forest) is the centerpiece of the three works that make up Schwingende Luftsäulen 2. It is the forest with its multiple meanings, real and symbolic, mythological, religious, literary, folkloric. The forest as a place that is sacred or magical, dreamlike or fairy-tale. A place of adventure and misadventure, to trek through with a view toward growth or rebirth. (...) In Spiegel (Mirror), dedicated to the Tonaliens Ensemble, the Pan-Ney and the tenor saxophone weave a layered dialogue in which they call and respond to each other. Not only. In their ‘mirroring conversation' the two instruments seem to suggest a choreography. Durand's music stands out for its ability to make some 'scenes' visible. In the dance evoked in Spiegel, the gestures - and perhaps even the bodies - appear suspended and rarefied, just as the music is suspended and rarefied, while, during listening, time expands beyond the duration of the piece. Music and dance remain there, in midair, even at the end of the ritual. (...) Panga, for Pan-Ney, tenor sax and digital delay, contains an allusion to nature. Panga (note the morpheme “pan”, which refers to Durand’s instrument) is the name of a plant that grows in New Zealand but that occurs in the botany of other areas of the planet (for example, in the Amazon) in connection with ancient practices both pharmacological and aphrodisiac. But the plant could easily belong to a manual of imaginary botany, if one thinks that nature, for Durand, is both a source of real inspiration and a place to reinvent according to subjective visions and coordinates."
www.antsrecords.com/AG19_SCHWINGENDE_2.html |
2019 |
€13.00 |
|
| EAU-DC |
NR2 |
LP |
"With Nr2 Jens Fischer and Thorsten Polomski developed 8 Songs moving between the relaxing moods of electronica. Just mixing up their favoured elements, adding more restrained, but sometimes pretty hasty beats and analog sounding fx’s this time, their 2nd recording expands ambient to not-just ambient. 100 copies will include a big sized poster with conceptual artwork according to the sleeve. Artwork/ design by Dominic Rechsteiner." [label info]
www.empiricrecords.com
"Following the LP/CD by Aalfang Mit Pferdekopf (see Vital Weekly 851), Empiric Records now releases a LP with a big sized poster and tapping into a different kind of music. Eau-Dc are a duo of Jens Fischer and Thorsten Polomski, who play electronic music that is somewhere along the lines of ambient music meeting up with rhythm. It's not exactly either strict ambient music or dance music for that matter. Music to tap your feet along, when you sit at home, reading a book, doing the laundry or other chores around the house, rather than heading out to the disco and dance your socks off. This is what a long-gone record store once described as 'head-nod' music. You feel the rhythm in your head and nod along too. Eight pieces of shimmering beats, moody but bouncing keyboard lines, a deep bass (although the record seems quite soft overall) for that necessary element of dub music. The ambient/cosmic music of late is slowly going more and more into the direction of 'dance' music - and before you know it we have another revival of ambient house and intelligent dance music. Be warned, Eau-Dc might be at the beginning of that too. These eight pieces, while nothing particular new, are crafted with great care and some nice delicate melodies to create a fine sonic depth in your living room." [FdW/Vital Weekly] |
2013 |
€17.50 |
|
| EBTEKAR, ATA & THE IRANIAN ORCHESTRA FOR NEW MUSIC |
Ornamental |
do-LP |
Subtitled: Ata Ebtekar and the Iranian Orchestra for New Music Performing Works of Alireza Mashayekhi.
"An ambitious, extremely complex, and sonically rich project that gives us an immense pleasure to release. An incredible collaboration between Ebtekar and Alireza Mashayekhi's Iranian Orchestra for New Music in Tehran, Iran involving dozens of trained musicians. Ebtekar has recently returned to the Bay Area from his three year stay in Iran where he closely worked with legendary composer Alireza Mashayekhi. The album spans 50 minutes, crystallizing acoustic instruments and electronic music composition with ten tracks fully realized by Ebtekar and Mashayekhi's orchestra. Ata Ebtekar (b. 1972, Hamburg Germany) aka Sote is an Iranian-American electronic composer and sound artist. His compositions are sonic tales synchronously decoding and regenerating customary patterns of thought in nature; aural designs of crisis and harmony where contempo meets folklore, orchestrating an artificial saga with a variety of illuminations and analysis. Presented here is a full-length album involving dozens of trained musicians performing works written by legendary Iranian classical and electronic music composer Alireza Mashayekhi in which Ebtekar was granted freedom by Mashayekhi himself to arrange and transform these compositions into fully realized pieces using his techniques of synthesis and electronic manipulation. Ornamental continues to explore even further than that which was presented in Sub Rosa's 2007 anthology, Persian Electronic Music (Yesterday and Today 1966-2006). The album also continues the radical experimental departure from his early electronic music work as Sote in the 12"'s published by Dielectric and Warp Records. Ebtekar's work continues to be painfully singular and shines bright in its ability to eliminate barriers the world over between noise, silence and modern electronic music composition. All music recorded in Tehran, Iran. Limited to 500 copies on black vinyl on full color spot-varnish matte jackets. Mastered by Thomas Dimuzio at Gench Studios in San Francisco, CA. Artwork and design by Brandon Nickell." [label info]
"....The sounds are varied and wondrous, from fantastical flurries of wild freaked out electronic flecked free form soft noise, to delicate tinklings and hushed moonlit drift, spacey metallic shimmers to haunting alien music box like lullabyes, Eastern sounding folk fragments drifting in soft swirls of rumble and hiss, long stretches of barely there melody and wispy streaks of distant rumble. Really quite mysterious and beautiful, whether you're into modern classical, electronic music, abstract dronemusic, or all of the above. ESPECIALLY all of the above.
Beautiful screened sleeves, with a printed insert, detailing the project, as well as the various performers and composers." [Aquarius Records review]
www.isounderscore.com
|
2008 |
€22.50 |
|
| ECKLOFF, JÜRGEN |
Jürgen Eckloff liest Nietzsche / Es geht im Kreis herum |
LP |
"Two sides – two tracks!
'Der (halb) mechanische Derwisch' was a live performance given at the N.K. In Berlin in May 2010. 'Es geht im Kreis herum', the incredible circling soundtrack for this live-ritual, is presented on one side of this record.
“It goes in circles - as a record does! As a Dervish does! As life does! Rotating bliss!” (Ignaz Horeb)
Many, many, many readings of Friedrich Nietzsche's writings are available.
But THIS is the only one that comes to the point! And the only one Mr. Nietzsche would have accepted as a correct one!“Accurate, concise, precise & specific - the only words to describe this recording.”(Gustav-Ramon Ludig, Literature Now!)
As usual for the high quality of 90% Wasser, the 34 recorded minutes are presented in FSS (Full-Stereo-Sound) on black vinyl in a limited edition of 199 copies including two inserts.
The whole artwork is done (again) by Robert Schalinski of Column One." [label info]
www.90-prozent-wasser.de
|
2012 |
€15.00 |
|
| EINSTÜRZENDE NEUBAUTEN |
Rampen - APM: Alien Pop Music (lim. yellow vinyl) |
do-LP |
Double LP version. Yellow color vinyl. Einstürzende Neubauten present their new album Rampen (apm: alien pop music). Since the band was founded on April 1, 1980, Einstürzende Neubauten have been shifting the parameters of mainstream and subculture to make the inaudible audible -- perhaps the unheard as well. This experimental field research, spanning more than four decades, is now entering the next stage. In its 44th year of existence, the band is going back to its roots while redefining itself. It's a change in self-image, for which the Berlin quintet plus one has created its own genre -- alien pop music.
Einstürzende Neubauten präsentieren ihr neues Album. Sie suchen nach neuen Formen. Nach dem unentdeckten Ton und dem noch unausgesprochenen Wort. Seit ihrer Gründung am 1. April 1980 verschieben die Einstürzenden Neubauten die Parameter von Mainstream und Subkultur, um das Unhörbare hörbar zu machen. Und vielleicht auch das Unerhörte. Ein sich über vier Dekaden erstreckender Feldforschungsversuch, der nun ins nächste Stadium tritt. In ihrem 44. Bestehensjahr geht die Formation weit zurück zu ihren Wurzeln, um sich gleichzeitig neu zu definieren. Ein verändertes Selbstverständnis, für das das Berliner Quintett plus eins 2024 sein eigenes Genre kreiert hat: apm - alien pop music. Ständige Weiterentwicklung - so könnte man das Schaffen der Einstürzenden Neubauten kurz und knapp zusammenfassen. Eine musikalische Evolution, die beim 1981 veröffentlichten Albumdebüt "Kollaps" beginnt und sich nun auf dem im April 24 erscheinenden Album "Rampen - apm: alien pop music" manifestiert, auf diesem präsentieren sich Blixa Bargeld, N.U. Unruh, Alexander Hacke, Jochen Arbeit, Rudolph Moser und Felix Gebhard nun von ihrer unberechenbarsten und eigenwilligsten Seite. Auf ihrem neuen Album setzen die Neubauten nun allen Sound-Spekulationen ein - wenn auch spätes - Ende. Schon seit Mitte der 1980er-Jahre experimentieren die Einstürzenden Neubauten auf der Bühne mit sogenannten Rampen: Öffentliche Improvisationen mit offener Entwicklung und Ausgang; Abschussrampen ins noch Unerforschte, die die Band im Jahr 2022 auf ihrer letzten "Alles in Allem"-Tournee im Zugabenteil performte und deren Mitschnitte als Basis für das neue Album dienen. "Rampen - apm: alien pop music" ist Popmusik für Paralleluniversen und Zwischenwelten. Für Hyperräume und Interzonen. Mikrokosmisch und intergalaktisch zugleich. Eine demimondäne Behauptung außerhalb aller physikalischen Gesetze, mit der die Einstürzenden Neubauten ein stilistisches Niemandsland zwischen Vergangenheit und Zukunft betreten. Rückkehr zu den Wurzeln einerseits, andererseits entsteht aus lärmgewaltigen Kracheruptionen, auf kryptische, oftmals fragmentarische Lyrics treffend, eine neue Kunstform: Populäre Musik für Aliens und Außenseiter. Aus Anti-Pop ist Alien Pop geworden. Fremdartig. Kokonhaft versponnen. Ungehört. Sonus inauditus. Nicht ganz unabsichtlich erinnert das reduzierte Coverartwork an das ikonische Layout des "Weißen Albums" von den Beatles. "Ausgehend von der Idee, dass die Einstürzenden Neubauten in einem anderen Sonnensystem ebenso berühmt sind wie die Beatles in unserer Welt", so Blixa Bargeld über die Gratwanderung zwischen Avantgarde und Augenzwinkern, Provokation und popkultureller Diskontinuität. Womit auch direkt das zentrale Thema vorgegeben wäre, das sich wie ein roter Faden durch alle Songs zieht: Veränderung, utopische Gedankenspiele und Vergänglichkeit. "Ich habe auf der Platte ein paar Lösungen gefunden und Dinge formuliert, wie ich sie vorher noch nicht formuliert habe, weil sie mir noch nicht so klar waren. Ich bin jemand, der denkt, durch Musik Erkenntnisse zu gewinnen. Das war schon immer so. Die Überzeugung, in der Musik etwas zu finden, was ich vorher nicht wusste. Und etwas zu singen, was ich vorher nicht wusste. Etwas, was sich dann als Wahrheit herausstellt. Oder zumindest als sinnvoll, wenn man es ein wenig kleiner halten will." Dieses Album repräsentiert die nächste Stufe der Evolution, auf der man die bekannte Sprache schließlich hinter sich gelassen hat. Und die Eröffnung weiterer, unendlicher Möglichkeiten: alien pop music.
|
2024 |
€48.00 |
|
| ELEH |
Homage |
3 x LP-BOX |
"Presenting a unified whole, the Homage 3LP boxed set contains Homage to the Square Wave, ...Sine Wave and ...Pointed Waveforms, all out of print until now. Initially released separately in 2008, 2009 and 2012 respectively with custom letterpress jackets, this collection includes new retrospective artwork by John Brien. Each disc comes in its own one-color silkscreen jacket using the same blue, orange and green from the original editions; all housed in a rigid white satin-coated slipcase with spot varnish printing hand-numbered out of 800. Eleh, an artist who flourishes in restraint, uses a reduced sonic vocabulary to highlight delicate intricacies in a logical path toward harmonious satisfaction. The organization of hypnotic square waves, rippling sine waves and triangle saw tooth waveforms is a discourse in the infinity, rather than the limits, of reduction. By employing a natural practice of balanced interpretation Eleh enables an individual reaction free of the clutter of white noise." [label info]
www.taigarecords.com
|
2013 |
€55.00 |
|
| ELIK, YURI / NOISES OF RUSSIA |
VOICES OF THE DEAD |
DVD-R |
"Photographer and videoartist Yuri Elik is primarily known as one of the founders and permanent members of multimedia project 2012, creating audio-video installations on various contemporary art festivals (SKIF, Heilige Feuer, Multivision, etc.). Apart from this Yuri performs on his own making video- and slide-shows for a number of experimental musical bands in St. Petersburg. Yuri is also the video show author for the performances of Simon Magus ballet written by D. Kakhovskiy and the designer of several CD artworks and websites. Gosha Solnzev (also known as "Van Gog" - 1g0g) - big industrial showman, leader of the project Noises of Russia well-known in Russia, organizer of several festivals, such as "Noise vs. Glamour", "Military Days", "Noisy Women", etc. Gosha has always claimed that he plays funeral music, so it's no wonder he showed interest in the phenomenon of voices of the dead, discovered by Friedrich Jürgenson in the late 50s of the past century. Electronic Voice Phenomenon (voices of the dead, Raudive voices) are the voices of anomalous origin appearing while making records on tape recorders or other electronic audio devices. EVP researches claim and have proof that this is a possible way of communication between physical and some other non-physical planes of existence. The exploration of this phenomenon led to an effective cooperation between Van Gog and Yuri which resulted in a series of live performances with the "Voices of the Dead" program and this short film, with 24 minutes an obscure psychedelic drama evolving in front of the spectator. A multi-layered collage of concrete visual images and kaleidoscopic colour fields constantly transforms, accompanied by unusual and uneasy sombre ambient with real voices of the dead samples interlaced in it's structure. As a bonus this disk also contains a 12-min. slide-film "City Spirits": alternation of photos by Yuri Elik with his own soundtrack constructed from city noises. Yuri skillfully focuses attention on subtleties of usual things that remain unseen to the eye of a usual human being, generally too busy with thinking over his insubstantial problems and forgetting about the beauty of the world surrounding him. The release is packed in a special cardboard sleeve and goes with a booklet with an encyclopaedic reference about the phenomenon of electronic voices." [label info]
http://zhb.radionoise.ru/
|
2006 |
€12.00 |
|
| EMERGE |
Reeligible Redye |
mCD-R |
Mysteriöseste Drone-Soundscapes mit konkreten Elementen, das "Ungeheuerliche" wird hier greifbar! Sehr schöne neue Veröffentlichung das Augsburger Projekts, spezielle handgemachte Cover-Artwork in blauen 5" CD-Hüllen! Wieder erstklassig!
www.myspace.com/emergedependenz
|
2009 |
€6.00 |
|
| ENCEPHALOPHONIC |
Exhuming the Perversion |
do-CD |
The re-edition of the first 3 ENCEPHALOPHONIC tapes released between 2010/11.
Encephalophonic as project is still very much active, it has progressed from early days, yet the core remains the same.
Dark and abusive nature of recordings set it far away from heart warming jams and free-noise energy blasts.
Of course, there is energy and ripping power, but it is razor sharp, cold and cruel and filled with destructive feel.
Combined with negative feel of sound samples emerging between some tracks, band steps away from usual spirit known from Japanese harsh noise.
While music nods towards masters of Japanese noise, Kazumoto Endo, Pain Jerk and such, Encephalophonic stays away from contemporary cut-up in means of technological methods.
Lack of post-production and computer editing, keeps sound of physical and full of flesh and blood.
Double CD with booklet including reproductions of all original artworks of tapes and added sleaze.
|
2018 |
€16.00 |
|
| ERLANDSSON, MATS |
Minnesmärke |
LP |
Mats Erlandsson makes his debut on the Swiss label Hallow Ground with »Minnesmärke,« at once a nuanced sonic exploration of the industrial and political history of his native Sweden and a deeply personal album. One of the key figures of the Stockholm drone scene, the prolific composer worked with The Kilimanjaro Darkjazz Ensemble’s Hillary Jeffery, violinist and long-time friend Gaianeh Pilossian as well as sound artist and frequent collaborator Yair Elazar Glotman for a two-part composition built around tuned sustained tones performed by electronic and acoustic instruments that were combined with field recordings in order to evoke a psychedelic state of reflection, a dream-like elegy for the acoustic properties of the former iron ore mine Ställbergs Gruva where the music has been conceived and recorded. Following up on releases on labels such as Hallow Ground label mates Kali Malone and Maria W Horn’s XKatedral imprint, »Minnesmärke« is Erlandsson's most accomplished work yet.
Originally a commissioned work by the Non Existent Center for a month-long artist residency in Ställbergs Gruva last Summer, »Minnesmärke« conceptually picks up on the socio-political and economic history of the Bergslagen region where the mine is situated. After mining operations had been on-going for decades prior, in the Industrial Age iron became one of the country’s largest exports, making the mining industry an integral part of the country’s progression towards a socialdemocratic welfare state in the years after World War II. With the rise of neoliberalism and the simultaneous erosion of the welfare state however, the mines around the region started closing, which resulted in the surrounding community losing its relative prosperity. Erlandsson’s interest in this story though does not exclusively stem from the historical significance of the mine, that has been re-opened in 2012 as a centre for cultural activities and critical thought. In fact, his grandfather was born and raised in the vicinity of it and thus his life - and, by extension, his grandson’s - was inextricably linked to its fate and the ebbs and flows of the industrial development in the area.
It’s no surprise then that the two parts of »Minnesmärke,« which translates to »memorial« or »monument,« is marked by a sense of dislocation and dissociation. »Working in Ställberg was a somewhat surreal experience from the point of view of a musician some one hundred years later,« says the artist. »Being in that environment makes you view time from the side - since the place remains the same it accentuates the deep chasm that separates my perspective from those of my relatives, while at the same time providing a form of intimacy with them.« This naturally shaped the recording process, which saw Erlandsson create an interaction between the acoustic and the electronic, the human and the machinic as well as the natural environment and the technology that has shaped it as much as it has been shaped by it. A combination of synthetic and recorded sound sources was processed by reamping it in various rooms of the vast mining complex. The resulting hybrid field recordings were transferred to tape and have then been treated extensively. An arrangement for Pilossian’s violin, Jeffery’s tuba and trombone playing as well as Glotman’s parts on double bass were recorded separately and similarly manipulated to create an expanded chamber ensemble with a wider range and an ability to transcend the usual temporal bounds of the instruments.
The outcome of this intricate working process calls to mind Phill Niblock’s most dense compositions, the iconic yet subtle work of Pauline Oliveros in the field of deep listening or even Jóhann Jóhannsson’s evocative examination of similarly politically charged topics on the »The Miners’ Hymns« OST amongst others. While Erlandsson shows his knack for creating emotive dynamics by bringing the acoustic recordings into a pulsating flow, the manipulated field recordings are used as a counterpoint throughout both parts of the composition, commenting on and fostering the ever-shifting dramaturgy of the record. Most importantly though, the 41 minutes are marked by a continuous tension that almost feels tangible. It’s the looming shadow of history, materialising in the form of a monument, a memorial for the past generations that have etched their hopes and aspirations into the walls of Ställbergs Gruva.
Hilary Jeffery - Trombone, Tuba
Gaianeh Pilossian - Violin
Yair Elazar Glotman - Double Bass
Mats Erlandsson - Everything Else
Mastering by Andreas Lupo Lubich
Artwork by Marijn Degenaar
https://hallowground.bandcamp.com/album/mats-erlandsson-minnesm-rke
|
2020 |
€21.50 |
|
| ESMERINE |
Mechanics of Dominion |
LP |
180G AUDIOPHILES VINYL INKL. EINEM SET AUS FÜNF 12 "X12" KUNSTDRUCKEN (ARTWORK VON JEAN-SÉBASTIEN DENIS AUS DER IMBRICATIONS-SERIE) + DOWNLAD-CODE "Mechanics of Dominion" entstand durch das moderne Kammer-Ensemble ESMERINE, das von Rebecca Foon (SALTLAND, SILVER MT. ZION) und Bruce Cawdron (GODSPEED YOU! BLACK EMPEROR) gegründet wurde. "Mechanics of Dominion" ist vielleicht ESMERINEs' dynamischste und narrativ informierte Arbeit, die einen Bogen durch neoklassizistische, minimalistische, moderne zeitgenössische, Folk-, Barock-, Jazz- und Rock-Idiome verfolgt, um Klage, Meditation, Entschlossenheit, Widerstand und Hoffnung aufzurufen. Es ist ein Requiem für unseren unerträglich leidenden Planeten und ein Lobgesang für die unergründliche, wesentliche Würde der indigenen Ethik, der natürlichen Welt, die moderne menschliche Schwäche und den Einfallsreichtum. Stilistisch bringt "Mechanics of Dominion" Schlag-Instrumente in den Vordergrund, mit Marimba, Glockenspiel, Klavier und Spieluhr. Die Beiträge von Multi-Instrumentalist Brian Sanderson nehmen einen immer größeren Teil in ESMERINEs Songwriting ein - seine melodischen Linien auf Hörnern und akustischen Streichern sind Elemente der zeremoniellen Lyrik und beleben diesen Songzyklus. "Mechanics of Dominion" ist außerdem eine weitere Superlative im Anspruch an Covergestaltung und Verpackung, diesmal mit der Arbeit des Montréal-Künstlers Jean-Sebastien Denis, die das komplizierte Gleichgewicht des Albums von Abstraktion, Spannung und emotionalen Färbungen genial widerspiegel
|
2017 |
€22.50 |
|
| 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 |
|
|
Twist |
LP |
listen: https://label-aposiopese.bandcamp.com/album/twist
YVAN ETIENNE
TWIST
A1 : Cinq réflectances inversées - 21:38
B1 : L’énergie du non - 18:59
_
Composed and recorded by Yvan Etienne.
Serge Modular, Field recordings.
CD : Mastered by Yvan Etienne / LP : Mastered by Giuseppe Ielasi.
Cut by Mike Grinser at Dubplates & Mastering, Berlin.
Artwork by Gregory Weiss / Design : Yvan Etienne.
Produced by Aposiopèse.
For Serge Modular and field recordings.
French artist/activist Yvan Etienne, is engaged in research in the field of sound art. As a musician, he composes and plays pieces using electronic, phonography, analog synthesizers and the hurdy-gurdy. His sound art research questions the perception and physicality of sound spaces. Collaborations with Phill Niblock, Yann Gourdon, Richard Glover, Brice Jeannin, Patrice Grente, Robert Poss, Paul Panhuysen, Marie Verry, la novia, Perinne Bourel…
CD : Mastered by Yvan Etienne / LP : Mastered by Giuseppe Ielasi. Cut by Mike Grinser at Dubplates & Mastering, Berlin. Artwork by Gregory Weiss
"In an edition of three-hundred copies, here is the sophomore effort by French artist / activist Yvan Etienne. Twist is quite welcome as we haven’t heard from him since 2014’s Feu which was a great debut, also on Aposiopèse, who have been quietly putting out minimal sounds for nearly fifteen years now. There are two long tracks here, so let’s get right to it. From the outset it’s a textural affair, one of granular microsound and distant tone. The open mic is quite fresh, clear as it drags and burrows through a ground of hiss and light crackling. The first pregnant pause is stultifying but leads to an airy adjacent passage. Cinq réflectances inversées presents observations in staring into a mirror way too long (?) or the sense of stasis when one is at zero gravity knowing that might change at any given moment. Etienne manages to fluidly switch between left and right channels to keep your attention between vignettes. There’s a lot to contemplate about this modest composition in tonal slide and play on lightness. The blunt rise and fall of hum dips and writhes as heavy metal (not the genre) is toyed with. Everything induces a sense of slowness, until the clang of metallic objects enters the fray – suddenly there’s a sense of upheaval like a prisoner squirming in shackles. Obviously this is broken into five parts, that accounts for the quiet lulls, and each tells its own story. The last of these catches the listener in a moderate rainfall, with a sonar or scanner of some sort buzzing as it surveills the area. There’s a Orwellian sensibility embedded herein. L’énergie du non starts with a singular high pitch tone, that sounds as if it has been split down the middle. It grows in voluminosity and scope, spreading far and wide with various high and low tendrils of modulation. This shifts and winds, and continues for nearly six minutes – which is alarming. Once it dies out there is a lull, and a lower and more gravelly buzz begins and peters rather quickly only to linger in the background. Is this some sort of force field being tested (?), am I being told to beware/stay out (?), or have I landed in some transitory space where various transmissions are yet un-encoded. This low grade yet seemingly robust under-the-surface energy is supposedly of ‘not‘ though there lies the tension. It’s what you can’t see, but only imagine, that will have you conjuring any number of questionable entities. Fortunately about midway this becomes an homage to old school microsound clicks and hiss. And with each rotation this literally begins to swirl with a windy effect that brings the static energy into the center. The end is a mix of field recordings of stacking and cracking wood, of rain slick streets and a hi-tone that separates the real world from that which is just beyond our immediate scope." [TJ Norris / Toneshift]
|
2019 |
€18.00 |
|
| |
Twist |
CD |
listen: https://label-aposiopese.bandcamp.com/album/twist
YVAN ETIENNE
TWIST
A1 : Cinq réflectances inversées - 21:38
B1 : L’énergie du non - 18:59
_
Composed and recorded by Yvan Etienne.
Serge Modular, Field recordings.
CD : Mastered by Yvan Etienne / LP : Mastered by Giuseppe Ielasi.
Cut by Mike Grinser at Dubplates & Mastering, Berlin.
Artwork by Gregory Weiss / Design : Yvan Etienne.
Produced by Aposiopèse.
Artiste / activiste, commissaire d\\\'exposition, directeur de la collection Ohcetecho aux Presses du réel, Yvan Etienne élabore des installations intermédia, des dispositifs de diffusions scénographiques, des concerts. Conçus comme des espaces à expérimenter, ses travaux sont généralement liés aux contextes, aux spécificités in situ, acoustiques et architecturales des espaces investis. Ses projets explorent les propriétés immersives, invisibles, mouvantes et fugaces du son, pour rejouer nos appréhensions et construire un dialogue en écho avec des corps résonnants (visiteurs, architectures, contextes). Réalisés à partir de sculptures, de phonographies, de compositions instrumentales, électroniques, ses expériences convoquent réflexions intuitives et questionnement des stéréotypes de la perception.
En tant que musicien, il compose et joue des pièces utilisant la vielle à roue, les synthétiseurs analogiques, la phonographie et l\\\'électronique. Ses recherches questionnent la perception des corps résonants. Il a joué avec avec Phill Niblock, Yann Gourdon, Richard Glover, Brice Jeannin, Patrice Grente, Julien Ottavi, Robert Poss, Paul Panhuysen, Marie Verry, Joachim Montessuis.
En continuité de ses pratiques il œuvre à la diffusion des pratiques sonores et intermédia comme programmateur et commissaire d\\\'expositions indépendant. En tant que commissaire, il a organisé les expositions de Paul Panhuysen, Brandon Labelle, Christof Migone, Maxime Vernier, Phill Niblock, Henri Chopin, Feed me with your kiss au Consortium de Dijon, Resonant Bodies à l\\\'ISBA de Besançon et programmé les festivals Oh cet echo et Architectone (Salines royales d\\\'Arc et Senans), NYC Sound au CAPC de Bordeaux, ainsi que divers concerts.
|
2019 |
€12.00 |
|
| EVAPORI |
Rehearsals for Objects |
CD |
"1000füsslers industriell gefertigte Releases erreichen einen neuen Maßstab. Neben Tietchens und der sehr schön angelegten Heizungs-CD ist Evaporis Beitrag zum CD-Labelkatalog ein weiteres ungewohnt klingendes Zeugnis Neuer Musik. Völlig losgelöst vom Digitalkrach oder jedweder PlugIn-Klangmasse erscheinen die hier versammelten Stücke wie alte Schneidetischexzesse eines digital aufgemöbelten Walter Ruttmanns. Die raumklangtechnisch ausgesteuerten Klänge und Geräusche werden mittels ihrer Aufnahmeposition verfremdet und steuern damit gegen den sonst allgegenwärtigen digitalen Verfremdungsprozess. Klanglich angesiedelt zwischen einer ausziselierten Kapotte Muziek Komposition und einer Esseiva Etude passiert im zeitlichen Rahmen dieser CD anfangs eine Menge: feine Schleifklänge wechseln teils in rapiden Wechseln ihre Soundzustände, lösen sich auf und bilden feine Schnittkanten, an deren teils gratfreien Oberflächen allerlei konkretes Material sich ansammelt, ehe es mit einem schnellen Schnitt in andere Ebenen gehoben wird. Der zweite Satz zeigt die stärkste Dekonstruktion mittels Audioschnitt und Collaging, weicht doch der geschickte Einsatz der Stille teilweise radikalen Rückwärtsrichtungen des Quellmaterials, ehe der letzte Akt der CD in teilweise recht droniges Basisbrummen gleitet und etwas schlüpfrig den Weg aus der Komposition weist. Evaporis Ansatz einer völlig raumklangbezogenen Kompositionsweise macht vor allem dann Sinn, wenn die ohnehin sehr liquiden und scharf gestellten (Rest)geräusche in teilweise verzweifelt wirkender Flucht ihre Plätze suchen. Die in endloser Rotation wiederholten Brummschleifen unter den gestreuten Sounds macht es fast schon wieder interessant, mal selber die Lautsprecher um einige Zoll im Raum zu verschieben und den damit verbundenen Akustiksituationen zu lauschen. Ganz schön interaktives Material." [Thorsten Soltau, AEMAG]
"The aim while composing was to create a sound landscape that is exclusively made up of recordings which are not processed by computer effects (so-called plug-ins). The sounds are influenced by the way they are recorded, e.g. by the positions of the microphone and the sound source in a room. The resulting sonic situations are the basis of the the composition. The sounds – most of them of an everyday nature – were transformed using computer editing only, in order to leave the recognizability of the sounds untouched, create tension and to arouse the listener‘s curiosity through different atmospheric cadences.
Recordings were made at Rauchhaus / Berlin, Fundbureau and Christianskirche / Hamburg
Mastering by Guy Saldanha
Artwork by Nicolas Wiese
Thanks to Celia Herrero and Christoph Lohse"
[label info / credits]
www.tausend-fuessler.de
"Das nenn ich doch mal eine Produktinformation: „Die größtenteils aus dem Alltag stammenden Klänge wurden am Computer ausschließlich durch Schnitttechnik verfremdet, um die Erkennbarkeit der Klangquellen offen zu halten, Spannung aufzubauen und durch verschiedene Stimmungsbögen bei dem Hörer Neugier zu wecken.“ Das hat man nicht oft, dass ein Geräuschkunstmacher auch mal an seine (potentiellen) Hörer denkt und dass er das Ziel seiner Bemühungen angibt - Stimmung, Spannung, Neugier. Oliver Peters ist in BA schon bekannt als AIC-Macher und, obwohl in Berlin aktiv, für seine guten Verbindungen zur Hamburger Szene, zur Hörbar, zu Guy Saldanha (Knistern), der hier das Mastering besorgte, zu Uli Rehbergs Walter Ulbricht Schallfolien, wo zuletzt seine LP Fumes (2007) herauskam, zu Gregory Büttner, der ihm auf 1000füssler bereits zum zweiten Mal ein Forum bietet. Was hier die Neugier weckt, sind Übungen, Turn- oder Tanzübungen von Gegenständen in einem menschenleeren Raum. Nur die vermeintliche Abwesenheit von Beobachtern oder Lauschern ermöglicht diese leicht gespenstischen, zumindest ominösen und odradekhaften Verspieltheiten. Es huscht, trappelt, kullert, von ganz feinen Drones umspielt. Vielgliedrig tockt, ratscht, schabt und klickt Holz an Holz, Metall an Metall, Was? an Was? -kreuz und quer durch den Raum, an Wänden und an der Decke. Odradek-Hockey? Odradek-Mikado oder -Kampfsport? Ein ‚interlude‘ zwischen ‚rehearsal I & II‘ lässt keine Atempause, sondern verdichtet sogar die Aktionen, mit fast menschlichen Zischlauten. Das hat nichts ‚Ambientes‘, sondern eine spielerische Dramaturgie, die allerdings ihr Geheimnis - wer sind die Spieler und was proben sie? - nicht Preis gibt, denn wir sehen nichts, wir können nur lauschen und rätseln." [Bad Alchemy]
"Oliver Peters, the man behind the AIC label and the musical project Evapori, likes his sounds to be free of computer plug ins. Take an object, place a microphone and record the object. The placing of the microphone is essential as it alters the sound. Take a whole bunch of objects, record them and then make a CD out of these recordings. The computer is merely a recording device, where, in good musique concrete tradition, cuts can be made, stereo adjustment and balancing the various sounds. That is most commendable, I think, as most computer plug ins do tend to sound too similar. What Peters does here, is not done a lot. Using natural space to create reverb, he carefully touches his objects and makes a very intense sound collage out of it. One that requires full attention. At times I was reminded of the live sound of Kapotte Muziek, but then multi-layered and with more concentration - but then of course the computer here can cut out all the unwanted sounds, which live is more difficult. By adding machine hum towards the end of 'Rehearsal 1', he manages to sound like drone music too. I think this is a great CD, but there is one thing I don't understand: why call this rehearsals? Rehearsal for what? It gives the impression that this is unfinished business, unless Peters wants us to cut further in this material, but somehow I don't think that this the case here. Why not go full on and state that these are 'compositions'? " [FdW / Vital Weekly]
|
2009 |
€13.00 |
|
| |
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 |
|
| 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 |
|
| EYELESS IN GAZA |
All under the Leaves, the Leaves of Life |
CD |
"Released 16/03/09. Originally released in July 1996, All Under The Leaves, The Leaves Of Life is one of the most popular albums of this cult band's career, including such defining moments as Monstrous Joy and the title-track.
The package features a reproduction of the original artwork, plus the inclusion of two bonus tracks, Luscious Word and The Carnal & The Crane . The album received ecstatic reviews on release. For example, New York's wonderful Big Takeover magazine would state that [Martyn] Bates has an utterly unique voice and lyrical cadence, a soaring counterpart for his and Becker s intricately woven organic and electronic instrumentation. Every song carries like a holistic message borne from high on the breeze. The refinement and grace of EIG bears no comparisons. Three Ships is simply transcendent. EIG are a treasure, as uncommon and stunning today as ever." [label info]
"... Every song carries like a holistic message borne from High on the breeze. The refinement and grace of EIG bears no comparisons. ‘Three Ships’ is simply transcendant. EIG are a treasure, as uncommon and stunning today as ever." [Gil Gershman]
www.cherryred.co.uk
|
2009 |
€8.00 |
|
| FARGUE |
Ruines, Irradiees |
CD |
Fargue is a Swiss/Finnish drone-rock duo founded by the multi-instrumentalists Samuel Vaney (Muhd) and Eeli Helin (Fawn Limbs, Mireplaner...)
Fargue was founded late 2019, after Helin and Vaney had been working together on an ancillary project, and realised that they share mutual interest and passion towards ambient, drone, post-rock, and other forms of experimental music. Not long after discussing about the subjects, the pair decided to pursue their musical ambitions together, and imminently begun the ongoing creation process that some time later harnessed Fargue as their moniker and actualised through the release of their well-received debut EP Phosphène in April, 2020. While the duo has worked on multiple projects before and are currently part of a plethora of them both together and individually, Fargue is an entity of its own; a unique addition to the performers' vastly varied sonic scope.
The foundation for "Ruines, Irradiées" was written and recorded during the first half of 2020, as the duet spent countless hours meticulously crafting and molding the songs together as well as alone in their respective corners of the world. As a result, each of the eight tracks on the album is the consequence of both a thorough composition process and free improvisation, atmospheric but tangible bodies of work further solidified by the inclusion of the session drummer Lee Fisher and his versatile percussions. In its core, Ruines, Irradiées is the demonstration of individual freedom, ebb, and flow, merging into one coherent and vibrant, alluring expression that is simultaneously ponderous but fragile, tangible but distant, and emotionally impactful. Ruines, Irradiées speaks through a primal aural language bereft of words but infused with meaning.
The duo coined the term drone-rock to best describe their vision and ingrained blend of styles, and albeit it might seem elusive at first, it explains itself thoroughly via the process of listening. The slowly evolving and unfolding textures possess a sense of pace and time that evades the standard frames of ambient and drone music, still advancing in a more spacious manner and being less concrete than post-rock or rock in general, hence the peculiar stylistic tag comes to play and aptly suits Fargue's sound.
As for the meaning behind their moniker, Fargue is a French word/concept roughly translating to the singular form of "to accuse/burden", and in nautical terms meaning either the concealment from an assailant, or an object meant to both prevent sailors falling overboard as well as restricting water from entering the vessel. The name can also be seen as a nod towards the French poet Léon-Paul Fargue known for his atmospheric and highly detailed works spanning multiple literary movements, albeit this connotation is hardly a coincidence that presented itself only after the band has chosen their title. All in all, the term can't be summed up to bear a single meaning, but mirrors the central idea of the music itself by being open for unrestricted interpretation. Artwork by Eeli Helin, Layout by Dehn Sora.
CD Edition of 300 copies in 6 panels Digisleeve, matt lamination. 8 Tracks. Running Time 61:40
https://cavsas.bandcamp.com/album/ruines-irradi-es
|
2021 |
€13.00 |
|
| FEAR FALLS BURNING |
The Carnival of ourselves |
CD |
"... beide CDs sind da natürlich erstmal für die interessant, die die limitierten LPs nicht haben, aber, nicht nur für die: neben schickem cover-artwork (martina verhoeven + carl clover/aleph) und genau so schicker ausführung als pappschuber, kommen beide reissues mit je einem, dafür gleich ellenlangen (27.57 + 34.22) bonustrack: "and the land torn down" (live aufgenommen von ronald marien am 16. may 2006 bei den audio-unit living room concerts in hamburg) und "dead wisdom". ersterer in unbedingt vergleichbarer qualität zu den auf "the infinite sea of sustain" kompilierten 6 konzerten, allerdings, im gegensatz zu den meisten der dort versammelten (und auch im gegensatz zu dem auf "the rainbow mirrors a burning heart" konservierten live-set) vollständig auf langsamen, fast endlosen aufbau setzend; ohne breaks, ohne harmonische veränderung, fast ein suchspiel, was sich / ob sich überhaupt etwas verändert / ab einem bestimmten punkt (etwas) verändert hat. perfekte ergänzung der oben genannten und musterbeispiel für "wie lange laufzeiten gleichzeitig hypnotisch UND abwechslungsreich anlegen“. "dead wisdom" dann gleich vom start weg sperriger; passt ja, ist / war die original "numb" ja auch schon. und viele der sounds auf "dead wisdom" sprechen dafür, dass alle drei stücke aus der gleichen session stammen. siehe z.b. die von mir damals als fast twang / surf / dub abstraktionen etikettierten, leicht schrägen, abstürzenden flächen, die auch hier, schon innerhalb der ersten 10 minuten, auftauchen. und nach ungefähr der hälfte der spielzeit auslaufen und vorgeben, das stück beenden zu wollen. nach dieser antäuschung dann der echte auslauf, fast 20 minuten lang...
und tatsächlich: die "numb" bleibt auch in der extended version noch immer so ein ding ohne fassbaren anfang, ohne fassbares ende... irgendwie faszinierend." [N, Unruhr.de]
"when the carnival of ourselves and i'm one of those monster numb with grace were originally released, dirk serries had only just started recording under the name of fear falls burning. the albums turned out to be decisive in shaping his vision of an ongoing drone-manifesto: during several exploratory sessions initiated in mid-2005, he quickly expanded the project's catalogue by a staggering eight releases within a single year. these would take the cosmic, post-rock- and kraut-infused production of his early recordings into new directions and eventually lead up to his current, raw and unpolished symbiosis of hypnotic guitar power and percussive thunder. the carnival of ourselves was the first full-length to follow the double-album »he spoke in dead tongues« and pointed towards an immersive and ghostly ambient sound. an extensive european tour, however, catalysed the inclusion of rock elements and heralded the advent of a more edgey and tribal approach: i'm one of those monster numb with grace, especially, was an important record, as it aligned the more refined studio output of fear falls burning with its direct and passionate live sound.
as these strictly limited releases sold out in no time (resulting in numerous requests for a second print), tonefloat and fear falls burning decided to leave the legacy of the vinyl untouched and to reissue both albums on cd - featuring new cover designs and bonus tracks culled from the abovementioned sessions. the astounding quality of these discoveries from the vault should convince even those already in possession of a vinyl copy: the twenty-eight-minute »and the land torn down« (on the carnival of ourselves) at first seems to build into a dense, dirge-like drone-sheet but intruigingly cools off to a disturbing soundscape haunted by muffled feedback and echoes of theremin-chants. the monumental bonus track to i'm one of those monster numb with grace, »dead wisdom«, meanwhile, would have made for a complete album in its own right: thirty-four minutes of subcutaneous feedback hum lead the listener down a spiral staircase into a place of deep calm and tantric concentration." [label info]
www.tonefloat.com
|
2009 |
€12.00 |
|
| FEINE TRINKERS BEI PINKELS DAHEIM (F.T.B.P.D.) |
Ahuenna |
CD-R |
"„AHUENNA“ ALBUM INFO: This album consists of a single, 45 minute long title. No computer, no digital sound preparer. Everything live. Contact microphone, sound effect units and various other sources. The entire piece was recorded at home in the studio of “Feine Trinkers bei Pinkels Daheim”.
Pure, live produced sound. “Ahuenna” is a typical album but still different. With
“Ahuenna” Feine Trinkers Bei Pinkels Daheim has broken new ground and thus has the history of the project posted on.
ABOUT FEINE TRINKERS BEI PINKELS DAHEIM:
Feine Trinkers Bei Pinkels Daheim ist the experimental music project of J. Eberhard
and it’s based in Bremen and have toured everything from the Netherlands to
Switzerland and Russia extensively over the last 2 decades.
In the last 2 decades, the project released unique vinyl CD and cassettes in multiple
editions, usually personalised and with personalised hand-painted artwork.
Every show of Feine Trinkers bei Pinkels is an experience for itself - it's timeless, it's
a feast for the ears, and it's such a pleasure to see him doing all the work on stage
when you just lean back staring at him, with his aural earbuds tickling your eardrums.
Now, Yesterday or Tomorrow, and why do he have such an attention to detail - that's
the question you will ask yourself." [label info]
www.format-noise.com
|
2010 |
€9.50 |
|
| FENN O'BERG (FENNESZ / O'ROURKE / REHBERG) |
Magic & Return |
do-CD |
"Zwei junge Klassiker der Liveelektronik von 1999 und 2002 wiederveröffentlicht. Als Bonustracks mit aufgenommen wurden der Beitrag zur Sonar‘99-Compilation und ‚Adidas Sun Tanned Avant Man‘, der nur auf der japanischen Edition von Return Of enthalten war. Christian Fennesz, Jim O‘Rourke & Peter Rehberg hatten bei ihren Konzerten 1998/99 und 2001 - alles Material entstand damals als Livemitschnitt - als Indieallstartrio den Versuch unternommen, Avant-Electronica, d. h. komplexe, beatarme, polymorph-pervers improvisierte und untanzbare ‚Konzertmusik‘, als Attraktion auf der Höhe des Zeitgeistes etwas breiter zu streuen als üblich. Mit falschen Erwartungen von einseitigen O‘Rourke-Fans, die von ihm akustische Gitarre (wie mit Mazzacane Connors) oder gar Sonic Youth-ähnliches erhofften, musste man zurecht kommen. Gegen Borniertheit und Schmalspurigkeit kann man letztlich nicht mehr tun, als auf die verführerische ‚Magie‘ der eigenen Qualitäten zu setzen. Die
Soundcollagen bis hin zum orchestral-opulenten ‚Fenn O‘Berg Theme‘ mit der Lizenz zu Betören sind geschichtet und verzopft eben nicht aus allem, was die Laptopspeicher hergeben. So beliebig und als bloße Summe ist Klangzauber nicht machbar. Ständiges Morphing und wuchernde Vielspurigkeit, Loops, Verzerrungen und Kompressionen, molekulare Diffusität, Einbrüche von Noise ebenso wie ungeniert melodiöse Einschübe von orchestralen Samples kitzeln die Empfänglichkeit und spotten - mit Schreibmaschinengetippe - dem Versuch, etwas derartig Logofugales in Worte zu fassen." [Bad Alchemy]
"All tracks by Christian Fennesz, Jim O'Rourke & Peter Rehberg. Artwork by Tina Frank. Remastered at Piethopraxis, Köln, January 2009. The legendary Fenn O'Berg are resurfacing eight years since their last performance. Starting with this double CD reissue of their two albums; 'The Magic Sound Of...' and 'The Return Of...', originally released in 1999 and 2002. Fenn O'Berg (Christian Fennesz, Jim O'Rourke and Peter Rehberg) first hit the scene after a surprise appearance at the Nickelsdorf Festival in 1997. Throughout 1998 and 1999 the trio toured extensively throughout Austria, Germany, Belgium, France, Italy, Switzerland and Spain, as well as shows in North America and Japan. The highlights of these trips were presented on 'The Magic Sound'. Although they were not first group to utilise mainly mobile computing devices, they were the first to bring such a set up to venues that would not normally book or even be interested in such things. This resulted in some very polarised reactions from both audience and promoters alike. In many instances the group needed to 'escape' the city they played. In Rome Jim O'Rourke was even given an acoustic guitar and more or less forced to play a short acoustic set before anyone could leave the building. Despite all of this, there was a generally positive response, with some shows going down as local legend. However its worth considering that the technology at the tine didn't offer the convenience of 'plug in and play' of current operating systems and applications. This of course led to set of recordings like no other. Not only was the rule book ripped up but the tour book as well. Each show became an improvised twisted journey through the various strands of electronic music where popular music sources (some more obvious than others) clashed with more academic tricks, but never sounding like being part of either. By 2002, the groups live output was drastically reduced due to all three members schedules moving in different directions. Only two performances were committed that year, and although the sound was more polished and one could even suggest that 'they knew what they were doing', their polarising effect was still there. One show was a sold out over enthusiastic Centre Pompidou in Paris, and the other a miserable 'count them on one hand' turnout at a jazz club in Vienna. Edited highlights of these shows made up 'The Return Of'. Since then the trio has been on a constant pause. In October 2009 they will get together in Tokyo to record a new studio album planned for early 2010 release. This reissue is repackaged with new artwork by Tina Frank, and contains two bonus tracks from the same period."
[label info]
www.editionsmego.com
|
2009 |
€18.00 |
|
| FENNESZ |
Endless Summer |
CD |
"New FENNESZ CD, his best release so far we think. Already being the most “harmonic” Mego-artist, this is a wondrous mixture of melodies & digital outburst & effects, which results in a unique sound we think. The harmonies are indeed a bit “lufty” at times and yes, this has really a summer feel somehow..."
[Drone Rec. info 2001]
"This reissue of Christian Fennesz's breakthrough classic Endless Summer has been remixed, remastered, and re-released with two extra tracks. Originally released in 2001 by Mego, Endless Summer brought his name and music towards the first steps of mainstream recognition with its micro sounds and warm guitar, harkening the dreamy serenity and quick-fading sentimentality of a California sunset. Following on from the more experimental Hotel Paral.lell and the Beach Boys homaged Plays single, Endless Summer brought the guitars more to the front, the electronics shimmered more, and the melodies shined more brightly. It went on to be a classic of its time, topping many end of year polls. This new definitive edition is newly mixed by Fennesz, resulting in a more open-sounding version of the tracks, especially the marimba driven "Caecilia" and the hypnotic "Before I Leave," and the towering "Happy Audio." It is also re-mastered by Denis Blackham at Skye, and has beautifully photographed artwork by Jon Wozencroft. In addition to the original 8 tracks, it contains 2 extra titles: "Badminton Girl," originally released in 2001 as part of the Split Series #15 12" with Main on Fat Cat Records, now out of print, and "Endless," which is previously unreleased until now." [press release]
www.editionsmego.com
" »Endless Summer« definierte zum Zeitpunkt seiner originalen Veröffentlichung 2001 den (spezifisch Wienerischen?) »sound of now« avancierter Electronica und markierte gleichzeitig den Höhe- und Endpunkt des »Vienna-Tones«-Hypes. Zu jener Zeit hatte er auch eine Goldene Nica der Ars Electronica in der Kategorie »Digital Musics« eingefahren, der Weg nach England zu Touch war vorherbestimmt und Fennesz wurde zu einem der wahrscheinlich populärsten heimischen Elektronikmusiker. Was wahrscheinlich auch der Tatsache geschuldet ist, dass Fennesz nie seine Gitarre vergaß und weniger die Möglichkeiten rein elektronischer Klangerzeugung in den Vordergrund stellte, als sich statt dessen um eine organische Verbindung zwischen Computer und Gitarre bemühte. Für vorliegenden Re-Release fanden mego und Touch insofern zusammen, als das Album auf dem ehemaligen Stammlabel erscheint, dazu kommen Fotos und Artwork von Jon Wozencroft. Als Bonus wurde »Endless Summer« von Fennesz neu abgemischt, es entstand eine etwas offenere und luftigere Version der Nummern. Dazu kommen zwei nicht mehr verfügbare Stücke. Tracks wie das Titelstück oder besonders »Caecilia« sind nach wie vor Genre-definierende Klassiker, ganz einfach." [SKUG]
|
2007 |
€13.00 |
|
| |
AUN: The Beginning and the End |
CD |
"Der Österreicher Christian Fennesz präsentiert mit seinem neuen Werk den Soundtrack zum Film "AUN: The beginning and the end of all things". Seine feinsinnigen Kompositionen unterstützen das Projekt des Regisseurs Edgar Honetschläger auf einzigartige Weise mit elektronischen Klängen und komplexen, jedoch berührenden Strukturen. Fennesz zeigt einmal mehr, das er ein Meister in seinem Metier ist. THEMA DES REGISSEURS 'AUN- Der Anfang und das Ende aller Dinge' erzählt die Geschichte der Frage nach der Zukunft, dem Wunsch der Menschheit ein neues Morgen zu erschaffen, der Angst und Abscheu vor der Apokalypse. Der Film macht den unerschöpflichen Fortschritt des jüdischen und christlichen Glaubens zum Thema. Dieser hat seit Beginn des 21. Jahrhunderts die gesamte Welt erobert und der Welt eine Situation auferlegt, in der Probleme nicht mehr von Wirtschaft und Wissenschaft allein gelöst werden können. Glaube ist so viel mehr als Religion, soviel mehr als monotheistische Konzepte. Seelen und Geister existieren jedoch nicht nur im Film. Die Verleumdung und Ablehnungvon ursprünglichen Gesetzen führt zur Auslöschung von Individuen,als auch der gesamten menschlichen Rasse. AUN erfindet sowohl Rituale als auch Mythologien und verehrt den Schöpfer dieser Welt. Der Film stellt zudem die menschliche Schönheit mir der Natur gleich und will den Zuschauer erinnern dass ,alles menschliche Leben von der Natur erschaffen wird". AUSSAGE DES REGISSEURS 'AUN- der Anfang und das Ende aller Dinge'bezieht sich auf die Gedanken des späten Claude Lévi- Strauss. Dieser beschreibt in seinen Aufsätzen, die Einzigartigkeit japanischer Shintoisten, deren Götter die Natur schützen. Der Film konzentriert sich auf die Trennung von Mensch und Natur und imaginiert eine Welt, in der das Leben sinnlich gelebt wird. Auch stellt der Film Zusammenhänge zu dem brasilianischen Autor Clarice Lispector, dem italienischen Anthropologen Fosco Maraini und der japanischen Autorin Yoko Tawada her. 'AUN- der Anfang und das Ende aller Dinge' ist ein 100 minütiges Drama, geschrieben von dem österreichischen Schauspieler und Filmemacher Edgar Hönetschläger. Es ist eine österreichisch/japanische Co-Produktion, realisiert vom EdokoInstitut Wien und Ribo Ltd. Tokio in Zusammenarbeit mit KGP Wien. AUN wird unterstützt von dem österreichischen Film Institut, dem Wiener Filmverbund, dem ORF, der Provinz Oberösterreich, der Stadt Tokio,derTochigi Provinz,der Shizuoka Provinz und der Yamanashi Provinz. //
An original soundtrack [OST]
CD jewel case - 28pp full colour - 15 tracks - 50 mins approx
"This CD is the soundtrack to the film AUN, directed by Edgar Honetschläger. With stills from the film in the full colour 28 page booklet, the artwork is designed by Philip Marshall. You can see a clip here: www.aun-film.com
Intention:
‘AUN – the beginning and the end of all things’ tells the story of mankind’s quest for the future, his desire to create the tomorrow, his fear of and loathing for the apocalypse. It spins the Faustian theme twice and lays bare open the inexhaustible Judea/Christian believe in progress, which by the 21st century has taken over the entire world and has succeeded in maneuvering the globe into a situation that can’t be solved by means of economics and science anymore. Enlightenment’s merits have taken the West’s ability to sense what is not to be seen, what is only to be felt. Believes are so much more than religion, than monotheistic concepts. Souls and spirits exist not only in film. Denial and neglect of eternal laws lead to extinction – of the individual and the entire human race. AUN invents rituals as well as mythologies and worships the creator of it all – nature – by playfully laying out its dichotomy with human culture. The film equals mankind’s beauty with nature by announcing that ‘everything mankind creates in nature’. Sadly the hubris ends and gives the audience the chance to heartily weep for the world.
Director's Statement:
‘AUN – the beginning and the end of all things’ follows the strings of thoughts the late Claude Lévi-Strauss revealed in his anthropological essays throughout the 20th century, as well as those of Japan’s unique Shintoism who’s millions of gods inhibit and preserve nature. The film focuses on the dichotomy man/nature and envisions a future world where life will be nothing but sensual. It contains references to Brazilian writer Clarice Lispector, Italian anthropologist Fosco Maraini and the Japanese writer Yoko Tawada.
‘AUN – the beginning and the end of all things’ is a 100 min., 35mm feature drama written/directed by the Austrian artist/filmmaker Edgar Honetschläger. It is a Austrian/Japanese co-production realized by Edoko Institute Vienna and Ribo Ltd. Tokyo in cooperation with KGP Vienna. AUN was supported by the Austrian Film Institute, the Vienna Film Fund, the ORF (Austrian TV), the province of Upper Austria, the City of Tokyo, Tochigi Province, Shizuoka province, Yamanashi province.
For AUN film distribution contact filmdelights.com distribution. With thanks to Edoko Institute, Vienna and Ribo Ltd., Tokyo" [label info]
www.touchmusic.org.uk |
2012 |
€14.50 |
|
| FERIAL CONFINE (=ANDREW CHALK) |
The full use of Nothing |
CD |
"A timely and welcome reissue of the first part of the trilogy of recordings by Ferial Confine dating back to 1985. Here sensitively remastered by Denis Blackham from the original master tapes at Skye Mastering and with a beautiful facsimile mini LP style sleeve, made in Japan. The Full Use Of Nothing was the first serious publication of music by
Andrew Chalk/Ferial Confine on cassette in the mid-eighties. Early experimentation in acoustic percussion and primitive multi-tracking techniques shaped the sound and spirit of these formative recordings, somehow very tentative but leading to an on-going fascination with subtle shifts in balance and nuances of sound within a limited palette, albeit in a wild and free series of performances here.
As the first part of the projected Siren re-issue trilogy; 'The Full Use Of Nothing' (1985), 'Meiosis' (1985) and 'First, Second And Third Drop' 1986), the primitive energy and somehow primeval expression of the first album is a vital key to the distinct changes and subsequent refinement that would follow afterwards and contains the pure essence of the project, from a different period almost 30 years past. It is therefore fitting this being the first part of the trilogy.
The Full Use Of Nothing is in an edition of 500 copies with Japanese language obi and features the original reproduced artwork by Andrew Chalk for the album. The CD was manufactured by in Japan. Layout by Magda Stepien, translations by Daisuke Suzuki." [label info]
|
2013 |
€15.00 |
|
| FIND HOPE IN DARKNESS |
Locked so tightly in our Dreams |
CD |
Moving Furniture Records is very proud to present the debut CD for Find Hope In Darkness, which is the alias of the 15 year old musician Glenn Dick from Ghent, Belgium.
Locked So Tightly In Our Dreams is his first CD release after two download only releases.
Where on his download releases he searches for a combination of broken beats and post-rock for Locked So Tightly In Our Dreams he explores his own boundaries in drone music and the darker sides of the ambient atmospheres.
Close your eyes and drown in the deep dark sounds of Find Hope In Darkness.
Locked So Tightly In Our Dreams is limited to 300 copies and comes in A5 sized artwork created by Helena Sanders.
www.movingfurniturerecords.com
|
2014 |
€12.00 |
|
| FIRE IN THE HEAD |
Carrion Wind |
CD |
"Since resuming recording this past Autumn, F/I/T/H’s work has taken a new direction. "Carrion Wind" is an ambitious work which consolidates the sounds explored with F/I/T/H and Sky Burial into a single project, focusing them into a complex and meticulously composed 63 minute industrial opus, a dark and ominous dirge, both beautiful and brutal, incorporating aspects of metal percussion, dark ambient, drone, doom and industrial electronics. Noticeably absent are Page’s vocals as F/I/T/H takes a more "restrained" approach favoring slow layering of synths, field recordings, guitar loops and electronics to build a tension which occasionally peaks at an explosive level comparable to the shorter tracks of F/I/T/H’s previous releases. Featuring a 4 Page booklet with artwork by Howard Forbes." [label info]
www.mutant-ape.co.uk
|
2009 |
€12.00 |
|
| FIRST HUMAN FERRO FEAT. ALBIREON |
Prosa Profana |
CD |
" "Prosa Profana" is a follow-up to "Guernica Macrocosmica" and the 2nd post mortem dedication by Olegh Kolyada collaborating with Albireon neo-folkers this time. A low-key unison of dissonant ex-Soviet schlager melodies and forefront Italian vocals in a tender naive manner offer a unique nostalghic experience. The release comes in a beautiful digipak with a 12-page booklet.
Tribute:
Dedicated to my father Vasyl O. Kolyada (1950-2008).
Production:
Conception + composition + engineering + arrangement + alternative sampling & vinyl scraping (vinyl & tapes restoration, including the 1970-80`s ex-Soviet recordings by Ariel, Tsvety, Sinyaya Ptitsa, V.Obodsinskiy) + vocals engineering + lyrics in English/translation of P.Celan`s 'Die Niemandsrose' poem + improvisations upon Cl.Debaussy and M.Dietrich songs and ex-Soviet ‘Autumnal Marathon’ and ‘The Star Boy’ motion pictures themes by Olegh Kolyada (with Helena K`s contribution in piano & clavier parts), 2005-2008/Zhytomyr, Ukraine. Strings + trumpet + cello by Zhytomyr Chamber Orchestra, early 2000/Zhytomyr, Ukraine. Acoustic guitar on "Eye-Deep in Hell" and "Late August Flowers" by Pavel Voskoboyev, November 2007/Zhytomyr, Ukraine. Vocals in Italian + lyrics renderings + mandolin on "Every Time I Turn around (another Year is over)" by Davide Borghi; vocals recording and engineering + samples editing on "Eye-Deep in Hell" (children’s talking-away), and "Every Time I Turn around (another Year is over)" (rain and wind snippets) by Stefano Romagnoli, summer 2007/Carpi, Italy. Layout & artwork by Katia Ilieva, winter-spring 2007-2009/Sofia, Bulgaria.
Conception:
Prosa Profana unveils a humane feeling of nostalghia as that of sorrow towards present lack of integrity, commonness, and harmony. Homesickness and melancholy, grief and yearning, but also hope and belief nostalghia is a deep relation one cannot relinquish or renounce since it is the purest sacrificial nature of a man. Sacrifice as a consequence of nostalghia is a verdict to overwhelmingly materialized time, its impiety and de-spiritualization. Nostalghia is a confession, humble declaration of love as generally the highest art manifestation ever possible. Prosa Profana is our verdict to ourselves." [label info]
www.nitkie.ru
|
2011 |
€12.00 |
|
| FIVE THOUSAND SPIRITS |
Quantum Consciousness |
CD |
PREPARE TO HAVE YOUR REALITY SHATTERED ! 5000 SPIRITS beziehen sich aufs holistische Quanten-Bewusstsein und widmen ihr Album dem LSD-Erfinder ALBERT HOFMANN, der am 11. Januar 2006 100 Jahre alt geworden ist. Hier tauchen sie tief ein in „atmende“ Strukturen, eine spirituelle ambience wie sie für ALIO DIE so typisch ist, angereichert durch fremdartige aurale Essenzen, wie Stimmen und leichte elektronische Effekte…
“After seven years of silence they will recurred to be heard again ...with 'Quantum Consciousness' they will not only overflowing the passed times but will leave frightened not only some listeners. Five tracks built in an unbroken journey of great intensity that Raffaele Serra ed Alio Die have characterized with an electronic refine touch and a flood vitality, always at the threshold of a mystery's whirlpool, some powerful electronic mantra that in these lands have already given some kind of dependance. Great artwork in gold print on dark green.” [label info]
|
2006 |
€13.50 |
|
| |
Melchiazek |
CD |
"The fourth chapter of the series, has long announced, is finally out. Melchiazek offers us 'music for imaginary movies' that Raffaele Serra has devoted much of his compositions .. here in the more obscure and dramatic vein, magnetic and mysterious.
Alio Die adds field recordings, loops, effects and edited the whole work.
An incredible machine of sounds, a great album for visions lovers and for fans of electronic music e dark ambient.
Prepared to see your reality shattered IV!!!
Wonderful artwork printed brown and bronze..
The cd comes in an elegant 3 sides digipack, LTD 300 copies." [label info]
www.aliodie.com
|
2014 |
€15.00 |
|
| FJERNLYS |
Ascending Triads & Luminous Arcs |
do-CD |
„Schwarz, bordeaux und weiß sind die Grundfarben des Covers, der Schrifttyp lässt auf einen Bezug zum Jugendstil des frühen 20. Jahrhunderts schließen. Packt man die CD-Hülle aus dem Pappschuber, zeigt sich das Foto einer nordischen Seenlandschaft, die sich mittig spiegelt - ein Motiv, das das gesamte Artwork bestimmt. Wer Knut Enderleins bisheriges Schaffen in der Ritual-Ambient-Formation Inade verfolgt hat, wird hier einige vertraute Elemente wiederfinden, musikalisch jedoch beschreitet das neue Projekt Fjernlys neue Pfade. Während Inade thematisch von Ideen kosmischer Spiritualität und dem Okkultismus des frühen 20. Jahrhunderts handelt, entfaltet Fjernlys in Titeln wie "Intermediate Nature", "Trunkene Flut" oder "Nocturnal Wine" einen mystischen Pantheismus, die All-Einheit von Existenz und Welt.
Am Arrangement wirkten diesmal neben Knut Enderlein auch noch eine weibliche Vokalistin sowie zwei weitere Musiker mit. Für das Mastering zeichnete Andreas Wahnmann von Fir§t Law verantwortlich, dessen neue CD dieser Tage ebenfalls erscheint. Stilistisch bewegt man sich nicht mehr in dronigen Darkambient-Gefilden, sondern bemüht sich deutlich um Songstrukturen und eingängige Melodien - mit minimalistischen Mitteln versteht sich: Gearbeitet wird mit dezenten elektronischen Beatstrukturen,synthetischen Sphären, aber auch akustischen Elementen wie einem Bass. Drei verschiedene Stimmen tauchen auf, wobei der düstere Aspekt von Inade durchscheint, aber auch eine gelegentliche Leichtigkeit, u.a. durch die Präsenz einer Frauenstimme. Die Texte auf Deutsch und Englisch sind leider nicht durchweg verständlich und werden auch im Booklet nicht reproduziert - man bettet sich im Geheimnisvollen.
Mit pochenden Rhythmen, elegischen Sphären und finsterem Gesang füllt man eine Lücke, die Predominance nach ihrer Auflösung auf dem Loki-Label hinterlassen haben. "Flash Crimson", "All Sun's Ceaseless Falling" und "Rising Challenge" arbeiten auf diese Weise: Kosmisch-apokalyptische Chill-Out-Hymnen. Rituelle Drums tauchen bei "Lunar Sphere" und "Solar Loka" auf, während "Nocturnal Wine" wirklich poppige Qualitäten hat und darauf shließen lässt, dass sich die Hörgwohnheiten der Musiker nicht mit alten Lustmord-Scheiben erschöpften... Hier meint man durchaus einen Nachhall von Minimalelektronik der 1980er Jahre zu hören, oder die unterkühlte Melancholie früher Wavemusik.
Die zweite CD enthält Remixe des Materials, und zwar von Antlers Mulm, Bad Sector, Fir§t Law und Lovespell, allesamt aus dem Freundeskreis des Loki-Labels bzw. auf diesem Label verlegt. Dabei ist erstaunlich zu beobachten, wie diese Gruppen das Basismaterial ihrer eigenen Klangwelt angleichen: Bad Sector geht eher kalt-noisig vor, Antlers Mulm und Lovespell dagegen gestalten ihre Stücke eher relaxed-poppig. Und Fir§t Law führt eine spacig-trancige Not ein...“ [Ikonen mag]
“On their first album FJERNLYS emerges marvelous sounds and voices organically in songs and arrange a pleasant and relaxed sound to pure benefit with highest recognizing value. The songs layer cosmic and synthetic sounds and go on tracing according to the principle harmony in the music, their acoustic space seems very expansive, it is by no means over-crowded. The voices creep crosswise into sounds and effects to lunar spheres and solar places, exactly the correct nuance at refinement not only to remain in the ear but also simply very charming. Sometimes the central sequence takes surprising twists in some recordings and the density of sounds became touchable. Behind this project hides one of the INADE Masterminds, who recorded nine tracks supported from several musicians, those clearly possesses more songcharacter than the work which appeared from the Lightchannel so far. Fjernlys' attitude to music remains unfettered by stylistic frames and the album targets the style-encompassing essence of sounds. The five remixes and interpretations of ANTLERS MULM, BAD SECTOR, FIRST LAW and LOVESPELL on the second CD support the complex character of the whole release and expand the border to a new style of Ambient Songs. Ace - Clear - Pure.“ [label info]
|
2006 |
€15.00 |
|
| FLEURY-STEINER, BEN |
He dreams in Rivers |
mCD-R |
"Head of the gears of sand label, also known under the paradin and light of shipwreck aliases and for collaborations with aidan baker or oophoi, ben fleury-steiner proposes here two highly evocative droney pieces, as its title suggests it... full-colour printed 3" cd-r with artwork by delphine ancelle-b." [label info]
http://taalem.free.fr/
|
2007 |
€5.00 |
|
| FOR KINGS AND QUEENS |
Elektroraum |
CD-R |
"The latest Album from For Kings and Queens „Elektroraum“
It contains 12 new electro acoustic works. They were recorded between December 2013 and January 2014 based on old demos and pieces from the last 4 years using field recordings, found sounds, guitar, synth and effect pedals.
Elektroraum
Der Anfang einer Hausmusik
Unruhiger Stuhl erster Teil
Blaues für nichts
Im Elektroraum
Unruhiger Stuhl zweiter Teil
Der Schnurrbart Friedrich Nietzsche
Die Bürde des Königs
Am Nordpol
Ein März Kind
Auf den Hund gekommen
Der dritte Teil eines Stückes
War es Bach?
Music and all instruments: Jens Kindermann
Artwork: Jens Kindermann" [label info]
"Jens Kinderman is the man behind For Kings And Queens, from Berlin, and he has released a bunch of releases before and now returns with an album of songs, which he 'demoed' in the last four years, but now fully works into proper songs. His primary instruments are the guitar, synth, effect pedals, found sounds and field recordings. Unlike his last release, which was all about voices, he goes back to his earlier releases and influences and it's not difficult to see such influences as say from Fennesz here. Many of these songs, except for the first, are rather short and to the point. He uses a bit of sound, loops that around, and adds further treatment to individual sounds as he mixes them along as the piece evolves. I thought the first piece, close to eight minutes, was a bit long for what it was and a bit unfocussed, but the other eleven were more to the point and sharp, exploring the right amount of sound sources and ideas per track, and then moving to a whole new set of sounds and ideas in the next, making this a highly varied work, which held my attention for the entire forty-three minutes. Maybe in terms of glitch (etc.) not the most innovative work, but I thought it was most entertaining record. Easily the best album by For Kings And Queens I heard so far." [FdW/Vital Weekly]
www.subterraneansonic.de |
2014 |
€8.00 |
|
|
The Living Room Series Vol. 1: Inland |
CD-R |
For Kings and Queens – the living room series
The new living room series contains three volumes of sound collages exploring the inside and outside environments.
Limited handmade edition of 50 with special packaging and artwork.
Music and sounds by Jens and Barbara Kindermann
Art work by Maria Cutugno
Text by Clara Kindermann
Recorded between 2015 – 2017
.
Vol 1: Inland:
Dull summons of the giants from the depths of the tempting vest, pounded and healed the breathing heaviness of the splintering dream.
Torn and trembling in flight, the vibration of the wild bird was splashing wet.
Vol 2. Ausland:
The humming of the air-conditioning and the humming of the cooling-house is represented in a one-dimensional picture, which is represented in a suction of the vacuum of the consciousnesslessness, in a mystery of the intermediate world, in a disturbing friction.
The disorientation of the indiscriminate underwater drum repeated backward chirping and rattling of the aircraft march.
Vol 3. Umland:
Urgingly penetrating, the hard metal saw and scraped the proximity of the radio distance.
The popping and balling of the ecstasy, rattling and rattling, approached threateningly.
forkingsandqueens.bandcamp.com
|
2017 |
€12.00 |
|
|
The Living Room Series Vol. 2: Ausland |
CD-R |
For Kings and Queens – the living room series
The new living room series contains three volumes of sound collages exploring the inside and outside environments.
Limited handmade edition of 50 with special packaging and artwork.
Music and sounds by Jens and Barbara Kindermann
Art work by Maria Cutugno
Text by Clara Kindermann
Recorded between 2015 – 2017
.
Vol 1: Inland:
Dull summons of the giants from the depths of the tempting vest, pounded and healed the breathing heaviness of the splintering dream.
Torn and trembling in flight, the vibration of the wild bird was splashing wet.
Vol 2. Ausland:
The humming of the air-conditioning and the humming of the cooling-house is represented in a one-dimensional picture, which is represented in a suction of the vacuum of the consciousnesslessness, in a mystery of the intermediate world, in a disturbing friction.
The disorientation of the indiscriminate underwater drum repeated backward chirping and rattling of the aircraft march.
Vol 3. Umland:
Urgingly penetrating, the hard metal saw and scraped the proximity of the radio distance.
The popping and balling of the ecstasy, rattling and rattling, approached threateningly.
forkingsandqueens.bandcamp.com
|
2017 |
€12.00 |
|
| |
The Living Room Series Vol. 3: Umland |
CD-R |
For Kings and Queens – the living room series
The new living room series contains three volumes of sound collages exploring the inside and outside environments.
Limited handmade edition of 50 with special packaging and artwork.
Music and sounds by Jens and Barbara Kindermann
Art work by Maria Cutugno
Text by Clara Kindermann
Recorded between 2015 – 2017
.
Vol 1: Inland:
Dull summons of the giants from the depths of the tempting vest, pounded and healed the breathing heaviness of the splintering dream.
Torn and trembling in flight, the vibration of the wild bird was splashing wet.
Vol 2. Ausland:
The humming of the air-conditioning and the humming of the cooling-house is represented in a one-dimensional picture, which is represented in a suction of the vacuum of the consciousnesslessness, in a mystery of the intermediate world, in a disturbing friction.
The disorientation of the indiscriminate underwater drum repeated backward chirping and rattling of the aircraft march.
Vol 3. Umland:
Urgingly penetrating, the hard metal saw and scraped the proximity of the radio distance.
The popping and balling of the ecstasy, rattling and rattling, approached threateningly.
forkingsandqueens.bandcamp.com
|
2017 |
€12.00 |
|
| FORD PROCO / COIL |
Expansion Naranja |
12inch |
"We are really honoured to present a 12” EP collaboration between the mexican band Ford Proco and the legendary UK electronic pioneers Peter Christopherson/John Balance aka Coil.
Ford Proco were formed in 1986 in Tijuana and they are considered the godfathers of the industrial electronic music in Mexico.
The story behind the recording of the two tracks is like a fairy tale.. apparentely the band members Robert Proco (sampler & synthesizers) and Wito Lavolt (bass, keyboards & drums) met Peter Christopherson in Los Angeles in the occasion of The Orb show back in the 90s and they exchanged phones & emails. Months later ‘Sleazy’ call and invited them as extras for Ice-T videos..
The tracks were composed following the method of the ‘expansión naranja’; Peter Christopherson was adding sax, drums and effects, while John Balance provided his magnificient voice.
Both the tracks were originally recorded in Autumn 1999 and they are unreleased on vinyl. The tracks were directly transferred from the original DCC (Digital Compact Cassette) and remastered by the mighty Rude 66.
Cover artwork design by Alessandro Adriani, labels artwork design of sacred geometry logos by Maximiliano Lizárraga (auayuavi.com).
Tracklist
A – Expansión Naranja
B – Ecuación De Las Estrellas" [label info]
www.mannequinrecords.com
|
2015 |
€18.00 |
|
| FOSSIL AEROSOL MINING PROJECT [FAMP] |
August 53rd |
LP |
The Fossil Aerosol Mining Project continues their post-industrial dialectics through their "songs of enhanced decay and faked resurrection." This cryptic ensemble from the American Midwest has been quietly producing such works since the '80s, with a deep catalogue highlighting a uniform brilliance in the exquisite reconstruction of exhumed cassette tapes and moldering 35mm film stock.
On August 53rd, Fossil Aerosol has collaged their reclamations of found sounds into an inquisitive, dynamic cinema of the ear. The tape loops and recombinant samples create elliptical orbits and vertiginous spirals. Down-pitched, disquieting rumbles form the foundations for much of Fossil Aerosol’s compositions, which mutate the fractured, crumbled, and mildewed artifacts into patterned yet shifting phrases. The result seems like hybrid, time-compressed mimicry of the evolution of our media-driven language.
The official statement from the ensemble reads as such:
"This album, arranged specifically for Helen Scarsdale, might be considered a prequel to The Day 1982 Contaminated 1971, featuring the damaged remains of certain pop culture pleasantries in a less decomposed state than found on the previous vinyl release. August 53rd, a month extended to accommodate a changing climate, predates the day 1982 contaminated 1971."
Such inquiries characterize the many non/fictions that contextualize the work of Fossil Aerosol. Through the process of decoding lost melodies and dialog of the 1960s, '70s, and '80s, Fossil Aerosol intentionally or unintentionally deflates the vanity of consumerism while at the same time providing an archaeological view of contemporary culture.
These conceptual frameworks would be meaningless if Fossil Aerosol did not deliver on the aesthetics. And deliver the Project most certainly does. August 53rd harbors the rich enigmas of distressed sound collages found in the work of likeminded artists such as Philip Jeck, Felicia Atkinson, and of course Fossil Aerosol’s occasional collaborators :zoviet*france:.
Noted photographer Michael Eastman (Vanishing America, Havana) contributed the artwork used for the cover of the album, specifically selecting imagery from decaying landscapes of the American Midwest.
"One of The Helen Scarsdale Agency’s most prized units, Fossil Aerosol Mining Project vent a cryptically elusive, hauntological suite of mid-fi compositions working on the cusp of ambient noise and avant-garde electronics in a way that should resonate with fans of the recent Pendant album on West Mineral Ltd, the romance of William Basinski’s knackered loops, or the shoegazing tinder of Jefre Cantu-Ledesma. We warmly recommend shutting your eyes and wrapping yourself up this one for a properly gauzy and deeply synaesthetically heightened trip." [Boomkat]
"Amazing what can be done with old tapes going back decades and found sounds and spoken voice recordings from the recent past – on this album, these materials have been assembled into a series of collages, either set in the present and proposing how society in the future will evolve, or rather devolve into a post-industrial world cannibalising its own history and reworking it into myth, the foundations of which will be purposely obscured (so that the masses won’t ever discover the reality); or set in the future and detailing that gradual decline into a ghost culture. Snippets of melody from unidentifiable sources, lost voices, unexpected and unknown rhythms, all heard through a misty invisible plasma patina that blunts the edges of sounds and renders them slightly blurred or warm in tone, perhaps in a state of mildewy decay, pass through briefly, never to be heard again.
The soundscapes revealed in each and every track are often beautiful and gorgeous in their rich tone and in what they might suggest to each individual listener: they might suggest an alternative America that didn’t squander its wealth on fighting useless wars around the globe just for the sake of being No 1, but used it to create a happy and secure if not super-rich society for all its people; they might also suggest an endless 1970s-era of beach parties and kids riding in open-top Cadillacs on highways across prairie and desert landscapes without end. In each track, a new aspect of this world opens up matter-of-factly but also unobtrusively; there is no deliberate in-yer-face provocation from the Fossil Mining Project folks here. Listeners take whatever message they find in this album, be it a positive one or a discomforting one.
With such evocative pieces, I hesitate to nominate favourite tracks since these will depend on what listeners bring to their listening experience. “Aestas Anatis” is quite an intimate piece with seductive voices and the track that follows, “Retail Retrospect”, is eerie and dark in a way that recalls early David Lynch films. All seven tracks on the album show much care and thought in their composition.
If ever you find yourself in a shack on top of a hill, looking down on a city and seeing, day after day, week after week, month after month, year after year, that city’s lights slowly turn down and cut off, its noises and traffic gradually wind down, its utilities finally cut off, and the citizens flee, leaving the streets and buildings completely derelict, this recording would be an ideal accompanying soundtrack." [Sound Projector]
|
2018 |
€23.00 |
|
| FROM THE WHITE CHIMNEYS |
Nautilus with Wings |
CD-R |
Amorph-Drones, Ätherischer Ambient, Transzendental-Muzak! Ein neues Projekt von BEN FLEURY-STEINER (PALLADIN, LIGHT OF SHIPWRECK) und dem Dänen DANNY KREUTZFELDT. Einzelne Field-Recording Elemente sind auszumachen, ansonsten ist der amorphe Gehalt sehr hoch, lädt zum "Verschmelzen" mit dem Klang ein und zum Einnehmen einer "Binnenperspektive", in der die vielen Mikrodetails "sichtbar" werden.. NAUTILUS WITH WINGS nimmt am Ende nochmal gut "Fahrt auf", wird geräuschhafter und druckvoller, den Drones wachsen Flügel !
"Behind From the White Chimneys' curtains, we have a duet of inventive, vibrant experimental-ambient shapers, as it's actually an original collab of Ben Fleury-Steiner & Danny Kreutzfeldt... Wimington, Delaware based Ben Fleury-Steiner is the instigator of the fertile Gears Of Sand label, but also a craftsmusician & meddlesome passionate sound artist... present on many fronts, he has already a solid bunch of works to his credit, and that under versatile aliases (Eneg, Light Of Shipwreck, Paradin...) on GOS, Dissonance, Mystery Sea, Umbra, Taâlem, just to name but a few...
Danny Kreutzfeldt is Danish and equally productive, both in terms of creations (for Databloem, Tibprod, Practising Nature, etc...) and aliases...with early influences coming from a certain electronic scene (Basic Channel, Biosphere...), he quickly veered off to nurture his very own brand of detailed engrossing ambient...
Here on "Nautilus with wings", they join forces, and undertake a journey of discovery mainly stemming from a recent fascination with the hydrothermal vents of the Mariana Trench...
The resulting work is highly evocative... a compelling, almost physical dive with all senses wide awake...
Above, a ceiling of heavy waters
as only witness to a rusted sinking shell,
a compressed hull in streams of scoria...
Preliminary to an irrepressible descent, further below
an osmotic slow drowning in primeval liquid
till the hazy bottom...
There, bowels spit long columns of dust,
floating straps pointing to something else,
& silent yearnings...
"Nautilus with wings" is our inner ship,
and its elemental drift a cleansing gate
where our passing make us feel in peace with the world...
MS49 cd-r ltd to 100 copies and numbered
sleeve design and artwork by Chalkdc." [label info]
www.mysterysea.net
|
2008 |
€12.00 |
|
| FROZEN FACES |
Broken Sounds of a Dying Culture |
CD |
Re-issue of self-released first LP from 1997, plus tracks from the 7" "Religion of Hate". Project of Lina / DEUTSCH NEPAL. large cardboard cover.
"The year is 1996 I was surfing on cold waves through the very heart of Linkopia, night after night it was all the same. Sleeping in the Karmanik basement seduced by delerium echoing between white concretwalls. I could hear the equiptment slowly disintegrating as I put out the light, broken sounds of a dying culture. This might be the erosion of history eternally scraping on the crown of mankind...or was it just the decline of my personal belongings after years of abuse... and was there any difference between the two theories? I streched out my limb and pressed the record-button." - Lina Baby Doll.
Originally released by Entartete Musikk in 1996 as a limited edition LP. Now available in cd format with totally remastered sound, new artwork and bonus tracks from the Religion of Hate 7" in original extended versions. A must for all the fans of Lina's works who somehow missed the vinyl version! Fomat: CD, A5 folding cover" [label info]
www.wrotyczrecords.prv.pl
|
2007 |
€10.00 |
|
| FULLMAN, ELLEN & OKKYUNG LEE |
The Air Around Her |
LP |
This record documents music made by two women — one American and one Korean — who have both made a profound impact within experimental music. Ellen Fullman’s Long String Instrument has been a long-term life-work of incredible ambition and dedication. The result is immediate, exciting and inspirational. Okkyung Lee has completed rewritten the possibilities for the cello in solo and group improvisation whilst maintaining a steadfast defiance to the many attempts to contain her work within pre-defined genres.
‘The Air Around Her’ was recorded on 20 February 2016 during the First Edition Festival for Other Music in Stockholm, Sweden at Kronobageriet — the former bakery to Swedish Royalty that dates back to the 17th Century and is now the site of the city’s Performing Arts Museum. The Edition Festival was given access to the space while renovations took place and Fullman allowed the requisite time to install and tune her long string instrument along the full 26 metre length of the room.
—————————————
credits
released November 27, 2018
Music by Ellen Fullman and Okkyung Lee. Recorded during the First Edition Festival for Other Music, Stockholm on 20th February 2016.
Concert producer: John Chantler. Recording Engineer: Maria W Horn. Mixed by Ellen Fullman and Thomas Dimuzio. Mastered by Andreas [LUPO] Lubich at Calyx, Berlin. Artwork by Bill Nace.
Made possible in part by a Foundation for Contemporary Arts Grants to Artists (2015). The title, "The Air Around Her" is a quote from "Vermeer Interiors" a poem by Margaret Rabb, from her book, "Granite Dives". This release has been supported by the Swedish Arts Council.
© 2018 Ellen Fullman (BMI) / Okkyung Lee (ASCAP)
Released by 1703 Skivbolaget in cooperation with Ideell Edition.
www.edition-festival.com
https://johnchantler.bandcamp.com/album/the-air-around-her
|
2019 |
€18.00 |
|
| FUNERARY CALL |
Nightside Emanations |
CD |
"First created in 1994, Funerary Call has established itself as one of the premier purveyors of archaic black atmospheres. With Nightside Emanations, Funerary Call presents his most organic and purely ritual experiences...8 tracks that spiral into darkness, led by the ceremonial fire rite of the opening track, then descending into even blacker, more ominous realms as the CD progresses. Extended pieces of opaque ambience are augmented by slow, foreboding, tribal percussion and sedated vocal incantations, full of ancient mysticism and creeping miasma. Material used in the recording process ranged from found objects such as rocks, scrap metal, antlers and bones, to an assortment of ritual implements; chimes, bells, gongs, rattles and kangling. The result is unequivocally one of the darkest releases you'll find under the Malignant banner and one of the more focused and complete recordings from Funerary Call. In 4 panel DVD digipak with stunning artwork by renowned Russian artist Denis Forkas." [label info]
www.malignantrecords.com
|
2012 |
€12.00 |
|
| |
The Mirror reversed |
CD |
"It is with great honor that we welcome Canada's unique and by now legendary Black Ambient act Funerary Call to our family. For this new opus Harlow Macfarlane found inspiration from personal interpretations of the Tree of Death and what is considered to represent the reverse or occult side of the Tree of Life, a diagram of the negative forces or Qliphoth (Hebrew, Shells) assigned to each Sephiroth. They represent the counter-forces of the ten divine emanations as described by the ancient Qabalists and the paths or tunnels that connect to these infernal realms and the various demonic forces that inhabit them. The constant shifting of sounds and tones are a metaphoric reflection of these various "shells" and chaotic entities. Built as one continuous piece with various chapters, this new album serves as a vehicule for delving deeply into the shadow side. Artwork by Dehn Sora." [label info]
www.cycliclaw.com
"The eerie and strangely evanescent theme opening the record draws the listener into a world of shifting shades and intermingled shapes that create a tableau of intense magical realism. The music evolves from the beginning, from minimal electronics designed like an abstract painting: they fade away into vaporous dispersion just when you think the frequencies are about to take a definite shape. They grow like the roots of a tree inside one’s head, asphyxiating common optical nerves and provoking a sort of dizziness of the internal organs; thus, the atmosphere here created becomes absorbent and eventually starts to grow inside you, but from above to the bottom. If we keep in mind the arborescent developed image, this glimpsing tree begins to take roots from the head and then seems to progressively take hold of your entire body by its trunk and branches.
It is the image of the tree of life and death which in some mythological and esoteric interpretations appears reversed in correspondence with the ontological aspects of individuation: one’s persona is shaped starting with cognition. As with most of hermeneutics this same aspect is based on ambivalence, so that this same root of self-development is the source of its degradation. Seemingly such ideas are musically suggested by traces of heavy-gripping tonalities or ironic, damping off percussive poundings. One who intends detachment from the illusion of progress searches to cut off from the root the body correspondent tree.
The ambiance constructed here traces allegorically the roaming of the intellect through the corners of its own metaphoric world. The music continuously acts as a vehicle for the listener: a meditative support which has the power to provoke the emergence of different mental states, all the more confusing and irritating as the mind has to confront ever-shifting frequencies.
Whether the intention of the artist has been to depict the kabalistic aspects of the Sephirothic tree, namely the malefic mirrored Qliphotic tree, is a matter of sheer interpretation. The record’s title would infer such a parallelism, but the evocative power of the music can gather esoteric hints that are generally valid.
“The Mirror Reversed” reflects the descent of the soul in its own created abyss. In part 1 of this one-track album, the Canadian artist acting under Funerary Call has offered us a multifaceted musical depiction of such a demanding journey. And even if a reversed descent is naturally an ascension, we will further wait for the soul’s ascending in part 2." [Iaha Crax / Santa Sangre]
|
2013 |
€13.00 |
|
| GAMIL, SOLIMAN |
Ankh |
LP |
"This is the 2nd release for Touch by Soliman Gamil, after The Egyptian Music. Ankh is the Egyptian symbol of life, of fertility and of growth. From the rich tonality of 'Dance of Ka' to the exuberant 'Clown Dance', Soliman Gamil draws on ancient Egyptian culture to create soundscapes that transcend the stereotypes handed down from films like Cleopatra; in the process they also challenge the shrink-wrapped mentality of 'world music'. On Ankh, Soliman Gamil plays 17 different instruments on 15 new compositions written and recorded since the 1960s. The cover comes complete with full color artwork that features a painting by Panni Charrington." [label info]
www.touchmusic.org.uk
|
1990 |
€15.00 |
|
| GAUCHISTE |
same |
LP |
"GAUCHISTE is a trio consisting of Tannon Penland, Tomas Phillips, and Craig Hilton. Tannon is based in Richmond, VA and is also in the instrumental group Loincloth who are newly signed to Southern Lord Records. Tomas as well as Craig are from Raleigh, NC and are prolific electronic musicians specializing in the sparse. (Absinth Records, Nitkie Records, AFE Records, and Young Girls Records to name just a few)
Out of a shared love of both metal and abstract minimalist forms, GAUCHISTE are two parts electronic genius and one part grim reaper. The sum of those parts is a self titled debut coming January 17th, 2012; seven songs that fuse Penderecki to Celtic Frost. At long last sounds of terror you can meditate to.
Little Black Cloud Records is honored to be a part of this ground breaking collaboration of styles and artistry. This release has been mastered by James Plotkin (Khanate, Scorn, Lotus Eaters, etc...) who specializes in making extreme music of all kinds shimmer and has worked with heavyweights such as Sunn O))), Earth, and Goslings.
The LP is limited to 100. The pressing color is black and carries a black label with handwritten notations to reflect side A & B (one upside down cross or two). The LP is housed in a plain black cardboard sleeve that is wrapped 3/4s of the way with cover art on heavy, high quality matte paper. A special insert has been created to sit within the cover to complete the artwork on the backside, much like a puzzle piece. The hand mirror cover art and layout has been designed by artist Kenneth Close and each record contains a digital download card.
The compact disc is also limited to 100 and also carries a mirror (compact) theme. The CD comes in a round metal tin with a plastic window in the center allowing the reflective CD to be viewed without opening the case. The liner notes are stored beneath the CD (accessible by removing the clear inner plastic that secures the CD in place) and the back of the tin case is stickered to complete the artful packaging." [label info]
www.littleblackcloudrecords.com
|
2012 |
€20.00 |
|
| 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 |
|
| GENOCIDE ORGAN |
Civilization |
do-CD BOX |
"This release was already planned in 2011 for the 20th anniversary of „Save our Slaves“. The implementation and the restoration of the original source material took a lot of time, especially the sound-files of the 1990 pre-release concert which are completed for this set for the 1st time. Genocide Organ had to dig deep into long-forgotten parts of the archive, to reconstruct as many as possible of the original photo-materials, reconstruct, extend and re-view them.
The work on the new album „The Obituary of the Americas“ delayed the completion as well, but then also accelerated it, as both publications were cut across thematically. Now it is done!
A further stone fits into the wall of the bands historical back catalogue.
LP version:
Limited numbered edition 500. The deluxe linenpaper covered Hard-Slipcase is foilblocked and debossed. The record sleeves and the additional artwork sleeves are all debossed and spot-varnished in the typical Genocide Organ artwork finish you know from : Obituary of the Americas: album. The artwork sleeve is filled up with extensive large 24p booklet, numbered certificate, inlay for the Live LP and embroidered patch.
CD version:
Limited first edition comes as deluxe linenpaper covered, foilblocked and debossed Hard-Slipcase, incl. Coverpak with double CD and extensive large 24p booklet. Only this first edition comes as special Hard-Slipcase Set with the additional Live CD.
Musical contend on both formats:
The complete material of „Save our Slaves“ originally released in 1991.
„The Lever Sunlicht Shooting“, reflecting the complete performance of Genocide Organ Live 15.12.1990 in Mannheim in front of an invited audience.
Compilation Tracks from:
Perpetual State of Oracular Dream LP 1991
Natural Order 2LP 1997
Sound of Hate Vol.7 MC 1992
Exploration One CD 1995
Trans-Action MC 1992
+ both tracks from:
Klan Kountry 7″ 1998
all material from original source material re-mastered by Jerome Nougaillon and Genocide Organ.
:CONTEXT:
Released on Tesco Organisation in 1991, Save Our Slaves arrived as the second album for Genocide Organ, following the debut Leichenlinie released 2 years prior. Although the impact of Leichenlinie is undeniable in establishing the group within the noise industrial / power electronics scene, upon reflection Save Our Slaves is the release that cemented Genocide Organ’s cult underground status. This cult status has been generated via their musical approach, coupled with lavish handmade packaging and the presentation of strong, potentially controversial thematic material in an impartial and ambiguous manner; which incidentally some have interpreted as being ‚politically incorrect‘. Save Our Slaves stands out as the landmark release that definitively executed each hallmark element of sound, visuals and thematic content with flawless accuracy.
:THEME:
Conceptually, Save Our Slaves is an album renowned for its direct engagement with many taboo aspects of America’s history. Consequently, without shying away from the darkest aspects of America’s past, Save Our Slaves is concerned with: slavery, racist movements such as the Ku Klux Klan, radical right wing political advocacy group The John Birch Society, and the struggles for suppression, dominance and/or liberty on both sides of the civil rights movement. There are seemingly implied references to Dr Martin Luther King (the vinyl side dubbed Birmingham perhaps referring to Birmingham, Alabama and the 1950-60’s civil rights movement), whilst the track Violent Coordinating Committee appears to be inspired by the Student Nonviolent Coordinating Committee – an important ‚direct action‘ organization of the 1960’s civil rights movement. Save Our Slaves also contains more direct references to other civil rights figures including James Meredith – the first African-American student admitted to the segregated University of Mississippi (a flashpoint of the civil rights movement); and Sarah Patton Boyle – Virginia’s most prominent white civil rights activists during the 1950-60s.
Yet to expand the thematic content further, the album also makes reference to American Imperialism of the 1950’s to 1970’s, which included covert CIA operations in the Middle East, Africa, South America, and Indochina / South East Asia. Specifically, such operations involved the facilitation of military instigated coups and provision of financial and military support to various dictators in the ideological fight for capitalism against communism and socialism.
Accordingly, within the broadly coveted discography of Genocide Organ, Save Our Slaves stands out as one of their pinnacle releases by fact of it being one the of most sought after. The album’s revered status is also demonstrative of the manner in which Genocide Organ combine music, theme and artwork to transcend the creation of albums designed merely to be ‚enjoyed‘. Save Our Slaves functions as a politically charged, controversial declaration and socio-political manifesto that analyses American society, the roots of America’s history and culture and its role in shaping the modern world. As exemplified by its sound, visuals and thematic content Save Our Slaves stands as a strong and clear testament to the initial rise and early establishment of Genocide Organ’s cult status.
Richard Stevenson: editor of Spectrum Magazine (1998-2001) / current editor of noise receptor journal (print ‚zine & blog). |
2017 |
€28.00 |
|
| GENTILE, STEFANO / MONICA TESTA / ENRICO CONIGLIO / STEFANO GUZZETTI |
Nell'Attesa del tuo prossimo respiro |
do-CD & 2 x BOOK |
2 x photo books (40 pages each - cm 25x25) + 2xCD in special package, ltd. 300 copies
"Waiting for your next breath" is a double photographic book that includes four different photographic stories by Stefano Gentile and Monica Testa, whose shots have as object of investigation the landscapes of abandonment. Those that once were spaces for social relations (cinemas, parks, hospitals and so on), have now become temples of ruin: marginal, forbidden, dangerous, inaccessible. However, without indulging in the simple 'painting of ruins' so dear to Piranesi, they draw from the decadence of architectural complexes and materials the power to imagine possible futures of meaning. Here, in this lies the wait for your next breath...
Enrico Coniglio and Stefano Guzzetti - separately - have created, in the margins of the photographic images, some possible musical settings, which we hope can accompany the slow browsing of the book by future owners.
The two 25x25 cm format books are housed in a cross-folded 'container' along with the two CDs.
The artwork was created by Chris Bigg (4AD, David Sylvian).
13 publishes this work in an edition of only 300 copies."
13.silentes.it/private_sounds/sps1828_gentile_testa_coniglio_guzzetti.htm
|
2018 |
€48.00 |
|
| GIFFONI, CARLOS |
Arrogance |
CD |
"Five chapters of sound inspired by one of the most powerful and complex emotions of humankind. Arrogance is a departure from the digital machine insanity of his previous full length release, Welcome Home (Important Records), for a world of total analog electronics, primal energy, walls of monumental sound and precise attention to layers - creating massive slowly evolving structures that are both beautiful and terrifying. Arrogance is the first CD release on the No Fun Productions label. Recorded live with no overdubs in Brooklyn during a 12 month period by Carlos Giffoni and mastered by James Plotkin. Cover artwork by award winning artist-designer Megan Ellis.' [label info]
www.nofunfest.com/nofunprod |
2007 |
€13.00 |
|
| GILBERT, B.C. |
Monad |
7inch |
"Track listing:
A: Ingress 2:42
B: Re-Exit 2:42
Cut by Jason @ Transition
Artwork and photography by Jon Wozencroft
TS12 - the next in the series of vinyl-only Touch Sevens [TS11 and TS13 to follow in 2011] - is Monad by Bruce Gilbert, whose career stretches back to late 1960's British avant garde art & music scenes, and has since played an important and influential role with his involvement in various rock based formations, work for choreographic projects and art installations...
Instruments: Korg Monotron Analogue Ribbon synth, Zoom RFX-200, Korg Kaos Pad 2, Apple GarageBand " [label info]
www.touchmusic.org.uk
|
2011 |
€8.00 |
|
| GODSPEED YOU BLACK EMPOROR! [GYBE] |
Allelujah! Don't bend! Ascend! |
LP + 7inch |
"We are proud to announce the first new recordings by Godspeed You! Black Emperor in a decade. Featuring two twenty-minute slabs of epic instrumental rock music and two six-and-a-half minute drones, ‘ALLELUJAH! DON’T BEND! ASCEND! provides soaring, shining proof of the band’s powerful return to form.
Having emerged from hiatus at the end of 2010, GYBE picked up right where they left off, immediately re-capturing the sound and material that had fallen dormant in 2003 and driving it forward with every show of their extensive touring over the last 18 months. The new album presents the fruits of that labour: evolved and definitive versions of two huge compositions previously known to fans as “Albanian” and “Gamelan”, now properly titled as “MLADIC” and “WE DRIFT LIKE WORRIED FIRE” respectively. Accompanied by the new drones (stitched into the album sequence on CD; cut separately on their own 7″ for the LP version), GYBE have offered up a fifth album that we feel is as absolutely vital, virulent, honest and heavy as anything in their discography.
We don’t have much time for mythology, but we’d be lying if we said the return of Godspeed You! Black Emperor in 2010 didn’t signify a whole lot to us as a marker from which to look back on the past decade, to reflect on what’s been gained or lost within the confines of independent music culture and what’s been gained or lost in the socio-political landscape writ large. Godspeed’s music will do that to you. It is music that bears witness to, channels and transforms this predominantly terrible, infuriating, venal and nihilistically sad story we’re all living, sharing, resisting, protesting, deconstructing and trying to change for the better. We think GYBE has once again provided a uniquely moving and compelling soundtrack for these acts of analysis, defiance and ascension.
* * *
Hard to believe a full decade has passed since the release of Yanqui U.X.O., the last album by GYBE. Never a band to care for conventional industry wisdom, Yanqui was released shortly before xmas 2003 with little publicity and no press availability, no marketing plans or cross-promotions or brand synergies, with back cover artwork tracing the inextricable links between major music labels and the military-industrial complex. Driven by word-of-mouth from a passionate and committed fanbase galvanized by the group's sonic vision and its dedication to unmediated, unsullied musical communication, the album found it's rightful audience.
To suggest that such simple principles and goals have become harder to maintain and enact a decade later is an understatement. For all the contents and discontents – for all the "content" – of our present cultural moment, the idea of circumventing the glare of exposure, the massaging of media cycles and the calculus of identity management appears quaint, if not futile.
But Godspeed is looking to try all the same. The band wants people to care about this new album, without telling people they should or talking about themselves. They want to hold on to some part of that energy that comes with the thrill of anonymous discovery and unmediated transmission, knowing full well that these days, anti-strategy risks being tagged as a strategy, non-marketing framed as its opposite, and deeply held principles they consider fundamental to health as likely to be interpreted as just another form of stealth.
Truly, thanks for being open to hearing it.
Release date: 15 October 2012 (Europe), 16 October 2012 (rest of world)
Running time: 53:09
LP is pressed on 180 gram virgin vinyl at Optimal (Germany) and comes in a tipped-on heavyweight gatefold jacket printed in full-colour process plus a spot metallic ink and spot matte varnish. LP dust sleeve is also 4-colour print. Package includes a 7 inch in printed dust sleeve (same audio appears in a different sequence on the CD) and a 12"x48" pull-out poster (printed full colour on both sides) featuring a collage of film stills specially-photographed and captured from the GYBE live 16mm projections." [label info]
www.cstrecords.com
"Viel ist passiert in den letzten 10 Jahren und für Mythologien bleibt weder Zeit noch Kapazität, aber eines ist doch offenbar: wir würden lügen, wenn wir nicht zugeben würden, dass die Rückkehr von GY!BE im Jahre 2010 eine Zäsur, ein Punkt der Rückschau gewesen ist. Wie kaum eine andere Band haben die Kanadier uns in den letzten Jahren begleitet, und das ohne musikalisch wirklich sichtbar zu sein. Ihre Geschichte ist eng mit dem Label Constellation verknüpft und die gesamte Attitüde, der Kontext, in dem sich Constellation und damit auch GY!BE bewegen, haben einen nicht zu unterschätzenden Einfluss auf die Independent Musikkultur weltweit ausgeübt. Und so regt dieses neue Album von GY!BE eine Rückschau an, eine Auseinandersetzung, was Independentkultur und Selbstverständnis heute noch bedeuten und wohin sich die soziokulturellen Komponenten unserer Gesellschaft entwickelt haben und noch weiter entwickeln werden. Auf diese Weise wird ,'Allelujah! Don't Bend! Ascend!" mit einer Bedeutung aufgeladen, wie sie schwerer kaum wiegen kann - und auf die weder Band noch Album direkt einen Einfluss haben - eine künstlerische Äußerung, die Bedeutung durch ihre bloße Existenz erlangt - da haben wir ihn doch, den Mythos, ohne dass wir es wollten. Und wir können es nur akzeptieren - dass dieses wunderbare Stück Musik (und das ist sie wahrlich, diese Platte - musikalisch ein Meisterwerk) schon jetzt ein Begleiter unseres Selbstverständnisses geworden ist, ein Moment des Innehaltens, des Reflektierens und damit Zeuge unserer eigenen Transformation, in der wir versuchen, das Kapitel unserer eigenen Biographie in diesem Buch aus überwiegend furchtbaren, korrupten, komplizierten und nihilistischen Geschichten neu zu schreiben und irgendwie in Hoffnung zu verwandeln. GY!BE haben es wieder einmal geschafft, einen Soundtrack für dieses Wechselspiel aus Analyse, Trotz und Befreiung zu liefern. Die Vinylversion von ,'Allelujah! Don't Bend! Ascend!" besteht aus einer LP und einer 7". Die 7" enthält zwei Drones, die auf der CD in den Album-Kontext eingebunden sind, auf Vinyl aber separat vorliegen, um eine gute Qualität der Pressung zu erreichen. Die beiden Songs ,Mladic" und ,We Drift Like Worried Fire" sind final ausformulierte Versionen der beiden von den den Konzerten der Band bereits bekannten Tracks ,Albanian" und ,Gamelan". Die beiden Tracks wurden von Howard Bilerman im legendären Hotel2Tango Studio aufgenommen, während die Drones von der Band selbst aufgenommen und gemixt wurden. Alle wurden gemastert von Harris Newman/ Greymarket. Musikalisch knüpft ,'Allelujah! Don't Bend! Ascend!" an das ziemlich exakt vor 10 Jahren im Herbst 2002 veröffentlichte, letzte Album ,Yanqui U.X.O." an und greift seine klangliche Ästhetik ebenso auf wie seinen Kontext.
Die Vinylversion von ,'Allelujah! Don't Bend! Ascend!" besteht aus einer LP und einer 7". Die 7" enthält zwei Drones, die auf der CD in den Album-Kontext eingebunden sind, auf Vinyl aber separat vorliegen, um eine gute Qualität der Pressung zu erreichen. 180gLP IN TIPPED-ON GATEFOLD JACKET. INCLUDES 7" VINYL + 12"x 48" PULL-OUT POSTER!" [label info- Cargo translation]
|
2012 |
€25.00 |
|
|
Allelujah! Don't bend! Ascend! |
CD |
"We are proud to announce the first new recordings by Godspeed You! Black Emperor in a decade. Featuring two twenty-minute slabs of epic instrumental rock music and two six-and-a-half minute drones, ‘ALLELUJAH! DON’T BEND! ASCEND! provides soaring, shining proof of the band’s powerful return to form.
Having emerged from hiatus at the end of 2010, GYBE picked up right where they left off, immediately re-capturing the sound and material that had fallen dormant in 2003 and driving it forward with every show of their extensive touring over the last 18 months. The new album presents the fruits of that labour: evolved and definitive versions of two huge compositions previously known to fans as “Albanian” and “Gamelan”, now properly titled as “MLADIC” and “WE DRIFT LIKE WORRIED FIRE” respectively. Accompanied by the new drones (stitched into the album sequence on CD; cut separately on their own 7″ for the LP version), GYBE have offered up a fifth album that we feel is as absolutely vital, virulent, honest and heavy as anything in their discography.
We don’t have much time for mythology, but we’d be lying if we said the return of Godspeed You! Black Emperor in 2010 didn’t signify a whole lot to us as a marker from which to look back on the past decade, to reflect on what’s been gained or lost within the confines of independent music culture and what’s been gained or lost in the socio-political landscape writ large. Godspeed’s music will do that to you. It is music that bears witness to, channels and transforms this predominantly terrible, infuriating, venal and nihilistically sad story we’re all living, sharing, resisting, protesting, deconstructing and trying to change for the better. We think GYBE has once again provided a uniquely moving and compelling soundtrack for these acts of analysis, defiance and ascension.
* * *
Hard to believe a full decade has passed since the release of Yanqui U.X.O., the last album by GYBE. Never a band to care for conventional industry wisdom, Yanqui was released shortly before xmas 2003 with little publicity and no press availability, no marketing plans or cross-promotions or brand synergies, with back cover artwork tracing the inextricable links between major music labels and the military-industrial complex. Driven by word-of-mouth from a passionate and committed fanbase galvanized by the group's sonic vision and its dedication to unmediated, unsullied musical communication, the album found it's rightful audience.
To suggest that such simple principles and goals have become harder to maintain and enact a decade later is an understatement. For all the contents and discontents – for all the "content" – of our present cultural moment, the idea of circumventing the glare of exposure, the massaging of media cycles and the calculus of identity management appears quaint, if not futile.
But Godspeed is looking to try all the same. The band wants people to care about this new album, without telling people they should or talking about themselves. They want to hold on to some part of that energy that comes with the thrill of anonymous discovery and unmediated transmission, knowing full well that these days, anti-strategy risks being tagged as a strategy, non-marketing framed as its opposite, and deeply held principles they consider fundamental to health as likely to be interpreted as just another form of stealth.
Truly, thanks for being open to hearing it.
Release date: 15 October 2012 (Europe), 16 October 2012 (rest of world)
Running time: 53:09
LP is pressed on 180 gram virgin vinyl at Optimal (Germany) and comes in a tipped-on heavyweight gatefold jacket printed in full-colour process plus a spot metallic ink and spot matte varnish. LP dust sleeve is also 4-colour print. Package includes a 7 inch in printed dust sleeve (same audio appears in a different sequence on the CD) and a 12"x48" pull-out poster (printed full colour on both sides) featuring a collage of film stills specially-photographed and captured from the GYBE live 16mm projections." [label info]
www.cstrecords.com |
2012 |
€14.50 |
|
| |
G_d's Pee AT STATE'S END! |
CD |
GY!BE kehrt mit einem weiteren Soundtrack für unsere Zeit zurück, wie ihn nur dieses unnachahmliche und ehrwürdige Ensemble schmieden kann. Das neue Album besteht aus zwei fesselnden, 20-minütigen, LP-Seiten füllenden Epen aus lärmgetränktem Breitwand-Post-Rock, während die beiden begleitenden 6-minütigen Stücke der 10" die Band aus Kanada in ihrer verheerendsten, eindringlichsten und elegischsten Form zeigen. Unerbittliches Tuckern blüht auf, während einige der hochfliegenden, brennenden Melodien der Band inmitten von Geigen- und Basskontrapunkt abprallen und zusammenlaufen. Field Recordings und aufgewühlte, halb-improvisierte Passagen umrahmen diese inbrünstigen Epen. Ergreifende Atmosphären, geräuschhafte Orchestrierung, Drone, hypnotische Swingtime-Crescendos, unaufhaltsam geschichtete Türme aus verzerrtem Klargesang: STATE'S END verkörpert jede geliebte Facette der Band. Fünfundzwanzig Jahre später ist dieses neue Album so vital, mitreißend, zeitgemäß und unerbittlich wie jedes andere in der geschichtsträchtigen Diskographie von Godspeed You! Black Emperor. So wie STATE'S END die ganze Bandbreite der klanglichen Trademarks von Godspeed vereint, so umspannt auch das Album-Artwork die gesamte visuelle Geschichte der Band: die körnige, monochromatische Fotografie der letzten Veröffentlichungen findet ihren Weg auf die Innenhüllen, während das Klappcover auf die ikonischen Grafiken früherer Klassiker wie Slow Riot For New Zero Kanada und Lift Your Skinny Fists Like Antennas To Heaven zurückgreift. STATE'S END ist mit Illustrationen von William Schmiechen versehen, wobei die Taijitu-Blumen auf der Vorderseite und die Tränengaskanister auf der Rückseite des Covers in erhabener, thermografischer, schwarzer Tinte auf dem Doppelvinyl-Albumcover abgebildet sind. Das leuchtende Kreuz von Godspeeds Debütalbum F#A#INFINITY taucht auch auf der Innenseite des Klappdeckels wieder auf, als wiederkehrende Hommage an das elektrifizierte Hügelkreuz in der Heimatstadt der Band in Montreal. STATE'S END wurde im Oktober 2020 in Montreal im Homebase-Studio der Gruppe, Thee Mighty Hotel2Tango, von Jace Lasek aufgenommen und abgemischt, dem altgedienten und preisgekrönten Indie-Produzenten (und Mitbegründer von The Besnard Lakes), der mit Godspeed bei dieser Aufnahme zum ersten Mal zusammenarbeitet. Danke fürs Zuhören. UNSERE SEITE MUSS GEWINNEN. (R.I.P. D.H.) [ENG]
GYBE returns with another soundtrack for our times, like only this inimitable and venerable ensemble can forge. As the heretical impudence of the anarcho-punk title implies, Godspeed harnesses some particularly raw power, spittle and grit across two riveting 20-minute side-length trajectories of noise-drenched widescreen post-rock: inexorable chug blossoms into blown-out twang, as some of the band's most soaring, searing melodies ricochet and converge amidst violin and bassline counterpoint. Field recordings and roiling semi-improvised passages frame these fervent epics, and two shorter self-contained 6-minute pieces find the band at its most devastatingly beautiful, haunting and elegiac. Poignant atmospherics, noisedrenched orchestration, drone, hypnotic swingtime crescendos, inexorably-layered towers of distorted clarion sound: STATE'S END encapsulates every beloved facet of the band. Twenty-five years on, this new album is as vital, stirring, timely and implacable as any in Godspeed You! Black Emperor's storied discography. Just as STATE'S END summons the gamut of Godspeed's constituent sonic trademarks, so the album artwork spans the entirety of the band's visual history: the grainy monochromatic photography of recent releases finds its way onto the inner sleeves, while the gatefold cover art harkens back to the iconic graphics of earlier classic records like Slow Riot For New Zero Kanada and Lift Your Skinny Fists Like Antennas To Heaven. STATE'S END features illustrations by William Schmiechen, with the front cover taijitu flowers and back cover tear gas canisters rendered in raised thermographic black ink on the double-vinyl album jacket. The illuminated cross from Godspeed's debut F#A#8 also makes a reappearance on the inside gatefold drawing, in recurrent homage to the electrified hilltop landmark crucifix of the band's Montreal hometown. STATE'S END was recorded and mixed in Montreal in October 2020 at the group's homebase studio Thee Mighty Hotel2Tango by Jace Lasek, the veteran awardwinning indie producer (and co-founder of The Besnard Lakes) who works with Godspeed for the first time on this recording. Thanks for listening. OUR SIDE HAS TO WIN. (R.I.P. D.H.)
|
2021 |
€14.50 |
|
| GRABOWSKI, PAWEL / THE BEAUTIFUL SCHIZOPHONIC / JAMES ECK RIPPIE + PAULO RAPOSO |
Product |
CD |
Das fast 20minütige geisterhafte, auf rückwärtigen Sounds basierende “But I’m not” von PAWEL GRABOWSKI eröffnet den (Drone)-Reigen auf dieser Zusammenstellung; Jorge Mantas aka THE BEAUTIFUL SCHIZOPHONIC hat danach ein höchst kurioses 10teiliges Stück mit dem Titel “Love Songs for a Psychoacoustic Girl” beigesteuert, bei der er Frauenstimmen von verschiedensten Quellen zu sinnlichen Dronescapes verarbeitet hat, schliesslich JAMES ECK RIPPIE & PAULO RAPOSO, die ihr Stück experimentell cut-up / turntable-mässig beginnen, es dann aber schnell in konkret-flächige Gefilde mit mysteriöser Atmosphäre führen, inkl. found-sound Sprengseln von alten Platten wie es scheint... Insgesamt eine überzeugende Compilation, dieser 6.te Teil der PRODUCT-Serie auf Cronica !
Dazu gibts noch ein Quicktime von Video-track von THE BEAUTIFUL SCHIZOPHONIC!
"elegantly packed with casey reas superb artwork arrives the sixth installment in the crónica's product series. this split opens with a long haunting composition from pawel grabowski, it settles with some ghostlike pieces with even a medieval feeling from the beautiful schizophonic and reaches its closure with natureza morta, a stunning piece teaming up paulo raposo and james eck rippie." [label info]
www.cronicaelectronica.org
|
2005 |
€14.00 |
|
| GRANDE LOGE |
Mantras |
CD |
France’s enigmatic Grande Loge present their first full length offering. Established in 2017 as a ritualised acoustic entity from Black Metal horde Malepeste and Tower of Silence to forge a crafty melange of aerial ambient, martial folk and transcendental chants using ethnic and traditional instruments, violin, buzuki, nafar, shaman drums and tanpura. “Mantras” is a suite of pagan prayers, a spiritual call to initiate an ecstatic inner voyage. Chants are composed of originals mantras, phonemes put together for their aesthetic and sonic value, a vocalised form of Chaos Magick. The track “Mithra Invictus” is a french translation of a prayer to the solar god Mithra while “Hekaten” is an prayer to the goddess Hecate in ancient greek. Artwork by Quentin Q.
https://cycliclaw.bandcamp.com/album/mantras
|
2020 |
€13.00 |
|
| GRASSOW, MATHIAS & THOMAS WEISS |
Outland |
CD |
"A reflection from outer spaces in between the universe of our mind.
A miniature of the endless space from far behind mankinds tangibility.
To understand the real essence of the heart of the matter, often it is necessary to take a look from the distance. Just this distance shows structures and connections, which are otherwise impossible to see and grasp – because everyone himself is part of a certain situation. Therefore “Outland” stands for a journey into an “outer land”, to become an advanced view for realization. Luxury pack with artworks of Markus Vogt." [label info]
www.faria.ru
|
2007 |
€12.00 |
|
| GRIM |
Therianthropy |
7inch + BOOK |
therianthropy' is the 2nd part of GRIM's book & 7" triology. an ep of 4 chapters, illustrated with a large collection of grim's infamous collage & cutup artwork - printed on 48 pages as fineart hardcover book. limited edition of 200 copies
the psychedelic mood and hypnotic dedication are the essence on 'therianthropy'. grim is simple purity in sound and noise: organic field recordings, electronic sounds, junk noise, heavy rhythms and distinctive vocals in its own unique mixture.
grim is the one-man pioneer of power electronics / noise music and has been around since the 1980s. in the early years, jun aka grim formed white hospital together with tomasada kuwahara in japan. they released one album called 'holocaust' in 1984 before disbanding. kuwuhara moved on to vasilisk, while jun released a number of solo records as grim."
https://ant-zen.bandcamp.com/album/therianthropy
|
2023 |
€35.00 |
|
| GRINBERG, ANATOLY |
The Dreams and their Meanings |
CD |
"dreams are like the brain’s video playback machine. they’re made up of bits and pieces of memories, images, products of the imagination, and feelings. the brain arranges these into a story - usually a slightly weird one! most people dream up to 6 times a night, but there are those who don't dream at all. whether this is legitimate or they just never remember their night time stories, nobody really knows. these are 7 types of dreams and anatoly grinberg's musical interpretation of them.
it’s a finely crafted and sophisticated ambient album, straddling the axis between industrial, electronic, contemporary modern classical and improvised noise with raw emotion and a continuous cinematic tension. a sonically rewarding journey through our dreams.
all tracks written and produced by anatoly grinberg in moscow, russia in 2020-2021. artwork by stefan alt. this is ant-zen act410"
https://ant-zen.bandcamp.com/album/the-dreams-and-their-meanings
|
2021 |
€13.00 |
|
| GRUNT |
Europe after Storm |
CD |
2012 Industrial Recollections/Force Majeure version of this CD originally released by Force Majeure. Now jewelbox packaging. but will all same artworks as the original fold-out poster cover! Late 90's Grunt with studio and live materials.
https://forcemajeure.bandcamp.com/album/europe-after-storm
|
2011 |
€10.00 |
|
| GUS, LARRY |
Iasmos |
CD |
Larry Gus - Iasmos CDR
Lovely baby pop electronica with live extracts.
Limited to 252 handnumbered copies
Very special package in five folded wagon parts like a train
Artwork: Hara
Released: 04/04/2009
Tracklisting:
18 untitled tracks
Total time: 33:05
"Somewhere in the more remote area of Xanthi there is family who treat their two children with unusual birthday gifts, usually specially played recorded CDs. One Larry Gus played some music for the second birthday of Orion (who I saw being baptized, but that's another story), which seems partly based on field recordings of a children's party and, for a larger part, on electronic keyboards, loop devices and a bit of vocals. Eighteen short pieces here of highly improvised music - there is a story about the original master being and it had to be restored or recreated in a short time span, but it sounds quite nice altogether. Childlike, obviously I'd say, intimate and also at times joyous. At thirty two minutes also having the right length for such a thing." [FdW, Vital Weekly] |
2009 |
€7.00 |
|
| HAARVÖL |
Seeking the Intimacy of Silence |
CD |
One of the things the pandemic brought us was an eerie silence: imposed, artificial.
Together with the silence, it brought a concomitant isolation. It left its mark on all of us, in different ways, but a distinct mark which still remains today.
This new release which we bring you now, holds, at its core, this recent experience.
That is why we wanted to address what we decided to call a kind of intimacy with silence. Above all, it is a question of highlighting the difference between the previous artificiality and imposition by another relationship: now free, now real. To be intimate with silence is to recognise its existence and importance (as CAGE taught us many decades ago) and thus to attempt an approximation to try to bring reality into the sounds we have built. A part of that reality, at least, the one that is detached from anaesthesia; the one whose silence is active.
The pandemic and the forced isolation brought us another need: to be with others again, to share life and reality (without screens or other devices to disguise the distance).
That\'s also why this record was built in a different logic from all our previous ones: in face-to-face sessions, in which the tracks were being built in a live environment that we had never tried before. What is heard has been played and experienced in a continuous sound dialogue, and yet without a safety net. Perhaps the pandemic has brought us closer together and more eager to enjoy the present.
It was, therefore, the sounds that approached and brought us closer to this longed-for conviviality with the idea of silence.
Togetherness extended to the collaborations we love so much. To collaborate is to enhance sharing. On this record, we can hear Martijn Comes\'s guitar or Xoán-Xil López\'s cello in a crossing of intentionalities and sounds that feed our desired approach.
A few words, too, for the importance of words.
On this album, we built the track titles as if they were a poem. It was a deliberate choice to preserve its unity, its whole. This is an album that refuses the fragmentary, but rather is made of fragments. Fragments of a whole. And that whole is the result of this kind of poetic metaphor that is embodied in its title.
May the approach to silence thus be an allegory of a time and reality that are ours and with which we want to interact intensely, even if we interfere in its most intimate moments, or in other words, its silences...
Indeed, CAGE again, or memory as a device to nullify distance.
All compositions by FJP, JF. Martijn Comes, guitar (1); Xoán-Xil López, cello (3). Haarvöl are Fernando José Pereira, JoÃo Faria (music) and Rui Manuel Vieira (images).
Artwork by José Carneiro
Mastered by Jos Smolders at EARLabs
https://haarvol.bandcamp.com/album/seeking-the-intimacy-of-silence
|
2023 |
€12.00 |
|
| HABEEB |
Il cancello della morte |
CD-R |
Neues dark ambient noise-Projekt auf SOMNABULANT, einer der zur Zeit besten Adressen für elektronischen Abgrunds-Industrial. Meist wuchtige analoge Flächen & amorphe Soundeffekte.....dann wieder schwelend & paralisierend, monumentale Rausch- & Dröhnflächen....
lim. 200 und beim Label schon weg !
“Habeeb seems such an odd sounding name for this sinister dark ambient project from L. Kerr of Steel Hook Prostheses. This massive disc is definitely stronger and more focused than what little I've heard from the project in the past, building often lengthy tracks around smoothly flowing low-end hums and drones with subtle melodic undercurrents seeping in at times. "Creeping Death" gets a bit louder with biting high-end swells that peak out to faint distortion over rumbling bass and slightly more prominent "notes" in the middleground, whereas a few other tracks are much quieter and more subdued. "Rigor Mortis" is very delicately rhythmic with its repetitive low-end loop throbbing away, followed by "Tapping the Spine with Razorwire", which adds in very lightweight wisps of distortion against the brooding ambience of the core soundscape – certainly a bit more ominous. "Descension Into the Blackness" is a monolithic 19 minutes (nearly half of the disc's the entire running time), building up slowly with hugely resonant bass and distant percussive sounds reverberating in the background – getting slightly thicker/louder, but maintaining a very stripped down aesthetic that never sways too far from the course. Closer "Keepers of the Death Gate" is the only track I dislike, and I find it to be terribly distracting in contrast to the other tracks, opening with a sample of some sort of country-ish music with pitch-shifted speaking before giving way to a barely distorted loop with a few harsher spurts of thick distorted noise layering in to add to the industrial percussiveness. Even without the strange intro it would've been uncharacteristic of the release as a whole, but that first segment of the track really kills it for me. The CD-R comes in a slim DVD case with minimal artwork that's basically black and white and depicts some illegible text and a woodcut image of demons shoveling people into the mouth of hell. It's a simple presentation but as is usually the case with work from this label it looks quite clean and tasteful. A solid release pound for pound. I'm still a bit confused as to what that last track is all about, but the preceding 55 minutes is a consistent slab of damn promising dark ambient noise.” [Aversionline.com]
|
2004 |
€10.00 |
|
| HAPSBURG BRAGANZA |
Hatchling |
CD |
"Phil Begg is a young british improviser and composer based in Newcastle. He became known in Belgium for the improvisation sessions that he was playing in every corner of the country during the summer of 2006. Armed with a few effect pedals, loopers and microphones, various objects and his mobile mono soundsystem, Phil amazed us with his intense improvisations. Whether brutal and powerful, whether quiet, flirting with some lowercase and minimal electronics influences.
Since we invited Phil to play at idioLABOAT festival in 2006 under the name of Chalfont, where he brought us his instant dives into abyssal psycho-active soundscapes and lightful envolées, we absolutely wanted to release one of his works on Idiosyncratics.
Hatchling is a slow-burning electroacoustic piece, integrating dense atmospheric collage of field recordings and concrete sound source
with highly textural drones and warm subtle harmonics. A very personal and breathtaking piece, both in the heritage of Francisco López and Charlemagne Palestine.
Artwork by Yannick Franck." [label info]
www.idiosyncratics.net
"Behind the strangely named Hapsburg Braganza we find one Phil Begg from Newcastle, who ended up on Belgiums Idiosyncratics, because 'he was playing in every corner of the country during the summer of 2006', armed with effect pedals, loopers, microphones, various objects and a mobile mono soundsystem'. I don't think I came across his name before, but the forty minute piece 'Hatchling' is indeed a very fine piece. The cover lists such instruments as Indian Harmonium, cymbals, acoustic guitar, piano, acoustic/concrete sounds and field recordings, which are specified on the cover). Somewhere there is mighty rainfall to be spotted, but otherwise the listed instruments aren't that easy to spot in this piece. The piece falls apart in three separate parts, which all flow into each other. The first part deals with electro-acoustic sounds, the second with the aforementioned water sounds and then finally a drone piece for overtones. The label calls this 'the heritage of Francisco Lopez and Charlemagne Palestine', which is quite understandable, especially when it comes to the drone piece that sounds like Palestine at his organs. The rain sounds are perhaps too obvious to be Lopez like I think. Overall, Begg does quite a fine job, and his piece, though not 'new', is one with a remarkable beauty. Moving and morphing into various genres, musique concrete, field recordings, minimalist music, this is one solid sound experience. Very nice work!" [FdW / Vital Weekly]
|
2009 |
€12.00 |
|
| HARMONIA & ENO |
Tracks and Traces |
CD |
"...Im Spätsommer 1976 lagen die Dinge allerdings anders, Neu!-Gitarrist Michael Rother verstärkt das Projekt und Brian Eno, der gerade die Arbeit an zwei stilprägenden Klassikern abgeschlossen hatte, (das eigene 'Another Green World' und 'Low' von David Bowie), war noch nicht vom World-Music-Virus infiziert, sondern voll auf einem düster, organisch, minimalistischen Ambient Sound. Was wiederum hervorragend zu Harmonia passte, die auf 'Deluxe' zwar mit echtem Schlagzeug und Gesang experimentiert hatten, in Anwesenheit Enos allerdings schnell und zielstrebig zu den vollelektronischen Tönen ihres Debüts zurückfanden. Und so entsteht ein endlos faszinierender musikalischer Fluss, eine saubere Kreuzung aus der sakralen, instrumentalen Hälfte von 'Low', den pastoralen, spacigen Elementen von 'Musik von Harmonia' und den organisch wuchernden Atmosphären von 'Another Green World'. Die Töne fließen, kreisen, pluckern, tragen den Hörer davon und sind in jeder Sekunde als ein Produkt aus dem Hause Harmonia/ Cluster/ Eno erkennbar. Zentrum ist das fünfzehnminütige 'Sometimes In Autumn', ein bedrohlich tropfendes Kraut- Stück, welches eine eiskalte Weltraumigkeit ausstrahlt und sich gemächlich dreht und windet wie ein Spiralnebel. Kontrastiert wird dieses Monster durch kürzere Tracks, in denen immer wieder wunderbare, seltsam melodiöse Kürzel auftauchen, kurz durch die Boxen wandern und wieder verschwinden.
Das Verrückte: Für einen kurzen, schönen Augenblick waren die Herren Rother, Moebius, Roedelius und Eno Kraftwerk um Längen voraus, während deren zeitgleiche Musik mit ihrer teutonischen Statik fest in den Siebzigern verwurzelt ist, könnte 'Tracks And Traces' locker als früher Proto-Techno der Marke Warp durchgehen. Aphex Twin oder Boards Of Canada beispielsweise. Exakt so gut ist dieses Album. Hätte man es 1976 auf den Markt geworfen, wäre es recht schnell zum Klassiker avanciert. So ist es zumindest eine nachträgliche Offenbahrung, remastert und gegenüber der 1997er Ryko CD Version mit drei Bonustracks und neuem Artwork versehen...." [Whiskey-Soda]
"Magische Momente entstehen einfach so. Die Musiker von HARMONIA ereilte so ein Moment völlig unerwartet im Spätsommer 1976. Zwei Alben lagen zum damaligen Zeitpunkt hinter der Band, "Musik von Harmonia" (1974) und "Deluxe" (1975). Beide Werke gelten heute als Klassiker des Krautrock und der elektronischen Musik, doch danach endeten die gemeinsamen Planungen. Bis ein gewisser BRIAN ENO auf den Plan trat. Er wusste längst über HARMONIA Bescheid, hatte sich 1974 sogar mal spontan in ein Konzert der Band eingeklinkt. Zwei Jahre später meldete sich Eno bei HARMONIA und schlug eine Zusammenarbeit vor. Er war damals gerade auf dem Weg nach Montreux, um mit David Bowie an "Low" zu arbeiten. "Mit Eno kam ein Geist mit großer Offenheit, unendlicher Spielfreude und einem enormen Fundus an Erfahrungen im Bereich populärer neuer Musik ins Spiel, und das hat offenbar die bereits verschlossene Tür öffnen können", so Roedelius. Trotzdem hat die Öffentlichkeit lange nichts von diesen Aufnahmen gehört, zum Teil deshalb, weil sie nicht für kommerzielle Zwecke bestimmt waren, zum Teil aber auch deshalb, weil die Originalbänder bei Eno lange Zeit als verschollen galten. Zum Glück hatten sich Roedelius und Rother Kopien von den Vierspurbändern gemacht. 1997 erschien aus heiterem Himmel das HARMONIA-Album "Tracks & Traces" mit Ausschnitten aus den sagenumwobenen '76er-Sessions. Roedelius hatte das in seinem Besitz befindliche Material sondiert und in einem aufwändigen technischen Prozess editieren lassen. Die Musik ist wundervoll. Forsch rauscht in "Vamos Compañeros" ein Groove in Gestalt eines sich wiederholenden Dampflok-Sounds heran. Nach dem idyllischen Abstecher "By The Riverside" geht es sogleich in eine experimentell-abstrakte Phase mit düsterem Unterton über. Man hebt den warnenden Zeigefinger: "Don't get lost on Lüneburg Heath!" Nach einem "Weird Dream" hellt sich die Stimmung wieder auf, vernimmt man wärmere, pop-ähnliche Akkorde und die von späteren Arbeiten Enos bekannte, hier jedoch von Rother gespielte Slide-Gitarre. Aber natürlich war das nicht alles. Rother hatte ja auch noch seine Kopie in der Hinterhand, die seit 1976 bei ihm im Studio lag. Eines Tages entschloss auch er sich, die darauf enthaltenen Fragmente, 27 an der Zahl, zu digitalisieren. Daraus ließe sich womöglich ein ganzes Album machen, aber man verständigte sich darauf, drei Stücke als Ergänzung für die Wiederveröffentlichung des 97er Albums zu verwenden. Mit dem Entree "Welcome" und dem anschließenden Track "Atmosphere" baut sich das Album nun langsam auf, bevor es mit "Vamos Compañeros" in der gewohnten Form wieder Fahrt aufnimmt. Am Ende verstärkt "Aubade" den Eindruck eines versöhnlichen Ausklangs. Gut Ding will bekanntlich Weile haben. Nun liegt, 33 Jahre nach Entstehung des Materials, endlich eine rundum befriedigende Version eines lange verloren geglaubten Schatzes aus der Krautrock-Ära vor. Damit dürfte nun auch ein Schlussstrich unter das Kapitel HARMONIA gezogen sein. Die Band war zwar nach Veröffentlichung des gefeierten Konzertmitschnitts "Live 1974" vor zwei Jahren wieder aktiv und hat einige umjubelte Konzerte in Berlin, Großbritannien, USA und Australien gegeben, aber Rother und Roedelius haben übereinstimmend erklärt, dass es keine Fortsetzung der Live-Auftritte geben werde... Gute Musik entsteht ungefiltert aus der Künstlerseele heraus, nicht aufgrund von wie auch immer gearteten Strategien und Gedankenspielen. Und wie man an HARMONIA & ENO '76 - "Tracks and Traces" sieht, verblasst Qualität unter diesen Umständen nicht." [press release]
www.groenland.com
|
2009 |
€13.00 |
|
| HATI |
KA |
CD |
If you ever saw HATI live you know how intelligently contrived their compositions are - their vast array of ethnic instruments (mainly gongs & other metallic ones, but not solely) is controlled by them in a very professional way; and the dynamics between between softer and more spheric gong or metal parts and more rhythmic & ecstatic ones are perfectly set. These are studio-recordings made in August in Torun, Poland, their hometown. On eight pieces their totally handmade instrumental sound is spread far to create very versatile material. Seen as contemplative ritual music or focusing just on the beautiful sounds of real instruments, this is a perfect start to enter the HATI-universe if you don't know them yet!!
"... Ka is a much more varied, more sensual and, to my mind, more rewarding album than Works For Scrap Metal, a lot of which had the stern, austere feeling of ‘Industrial Régime’. The addition of harmonium in particular really extends Hati’s palette, and ‘Trans Muzik’ is easily the funkiest thing I've heard from this band. I wonder whether it isn’t time for Hati to try using the human voice – not lyrics and singing, but wordless chanting or humming? As far as I'm aware, they’ve never used voices. It’s just a suggestion. Anyway, Hati are playing in Britain for the first time next month, in London on June 12 with Z’EV and Raymond Salvatore Harmon, as part of the Equinox Festival, and I for one am very excited about the prospect of seeing them play, having admired them from afar for years.
The packaging of Ka is very nice, consisting of a cruciform cardboard envelope, rather like the sleeves favoured by the Finnish ambient label Aural Hypnox, with black-on-silver artwork." [Simon Collins / JudasKiss]
"... Primary sound source on the album is acoustic metal-percussions counting among others gongs of various kinds, steel barrels, metal discs and aluminum plates just to mention a few of the applied tools. The band itself terms their style as Trance-Gong - a quite hitting stylish term since the trio use the metallic percussive sounds to create this trance-inducing atmosphere that first of all draws associations towards the Gamelan-style of the Javanese territories. Apart from the sound pallets of metal percussion other important sound sources count bells of various kinds. Stylistic the music of the band are best termed as something in-between gamelan, ambient and ethnic minimalism. A quite fascinating and unusual album that probably won't find its fans on the dancefloor, but more likely demands for some horizontal listening." [NM, Vital Weekly]
www.myspace.com/hatitah
|
2009 |
€13.00 |
|
| 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 |
|
| HEINZE, STEFAN |
Pzzt 1982 1983 |
MC |
"Stefan Heinze PZZT 1982/1983
c-40 d.a.s. 014 2013 50 copies artwork eliab
Inox Kapell did under his born-name Stefan Heinze some different tapes in the early 80th, industrialpopique and wired stuff with sprechgesang and singing and instrumental waves, electronic-fluxus, glitsches, and early angst-pop. The tape is a selection of some songs that came out of this period of tonband, tape-recorder, organ and synths, panasonic-loop-tapes. All recorded in Collinghorst / Eastfrisia /north-Germany.
listen: http://dasandereselbst.org/listen/heinze_pzzt/heinze_pzzt.htm" [label info]
http://dasandereselbst.org
|
2013 |
€8.00 |
|
| HELICE PIED |
Conduit No. 2 |
7 |
Debut-Release von HELICE PIED, nach einer Namensumwandlung aus NIXILX.NIJILX hervorgegangen. "Intelligent Drone" aus nicht-elektronischen Quellen gesponnen, die Cover-Artwork verwendet vielfältige aufeinanderbezogene Symbole und versteckte Bedeutungen... weisses Vinyl, gold-farben bemalte schwarze Cover.
"HELICE PIED is a newcomer from Athens, Greece, who had a few outstanding releases before under the nom de plume NIXILX.NIJILX, but for this very first vinyl release a new project-name was chosen. #Conduit No.2# is a perfect example of sensibly spun experimental drone, floating waves with metallic tinkling-sounds slowly approaching and disappearing again, soft white noise-swooshes circulating widely around an invisible center... sound-sources are hardly recognizable (coming from concrete sounds of churchbells and e-guitar), the atmosphere rising is one of quietness & meditation, able to transcend your mind. All words & symbols HELICE PIED uses (see inlay & cover-structure & endgroove) have a strong structural and inter-related meaning...Filed under: hologram-drones. BLACK COVERS WITH HANDPAINTED GOLDEN COCK & CHURCH BELLS ON IT"
[press release]
|
2006 |
€7.00 |
|
| HELM |
Impasse |
LP |
"Impasse is a sideways journey into the archives of London-based artist Luke Younger, a.k.a. Helm. Conceived six years ago in the wake of a Birds of Delay tour, the album originally saw the light of day in an abridged version as a mini-CDR on the Low Point label in 2008. This remastered and expanded reissue has the two original tracks along with two others from the same sessions that remained unmixed until a couple of years ago. Impasse appears as somewhat of an anomaly in the Helm canon when viewed alongside recent live performances and his work for labels like Pan and Kye. Where other works explore the mystery inherent in everyday sounds and acoustic phenomena, Impasse is significantly brighter in tone. Consisting of four loop-based pieces, the record invokes the same fantastic worlds found in Terry Riley’s or Boyd Rice’s early ambient pieces. Picture a functional family vacation, an explorer at the apex of his endeavors, a 4:00 AM drinking session with new liquids discovered. Bright corners, euphoric angles and ecstatic drones come together for an emotionally charged high that reflects these unique moments in the human experience. The beauty of Helm lies in its implacable curiosity, the way his music observes the current state of being. Released in a limited edition with artwork by Graham Lambkin, Impasse is another sublime offering from one of the UK’s sharpest cats." [label info]
|
2014 |
€15.00 |
|
| |
Olympic Mess |
do-LP |
"Where his previous effort, 2014's 'The Hollow Organ,' dealt in dense, distressed sonics, 'Olympic Mess' is Younger responding to a period spent engaged with loop-based industrial music, dub techno, and balearic disco. These musical references, all of which can induce hypnotic states and feelings of euphoria, inform ten evocative aural landscapes which unfurl over the course of an hour and act almost as a counterpoint to the turmoil that spawned them.
"It's about exploring a perverse desire to pull the rug from under yourself, and the struggle to achieve a healthy equilibrium between one's personal and artistic lives," Younger says. "Dealing with the problematic consequences of pushing your own limits, forming and dissolving relationships, transient lifestyles, physical and mental exhaustion, excess, and other kinds of personal chaos".
Crafted using an array of heavily processed samples, found sound and electroacoustics, personal conflict manifests in "I Exist In A Fog" and "Outerzone 2015," where visceral noise disintegrates into veiled, ambient strata. The disquieting crescendos of "The Evening In Reverse" and "Fluid Cloak" offer no such relief, while the title track and "Don't Lick The Jacket" are mineral, multilayered abstractions twisting around a brittle pulse.
Following a period of extensive touring throughout the States and Europe, which included 20 dates in support of Danish punk group Iceage, 'Olympic Mess' was recorded in London, New York and Berlin by Sean Ragon, Luke Younger and John Hannon.
The album is mastered and cut by Rashad Becker at D&M, pressed on 140g 2xLP and CD. It features photography by Kim Thue and artwork by Bill Kouligas."
www.pan-act.com
|
2015 |
€27.00 |
|
| HEROIN IN TAHITI |
Casilina Tapes 2010 - 2017 |
LP |
"Hailing from Rome, cult duo Heroin in Tahiti fuse analogue synths, garage-y guitars and skittering drum machines to gloriously lo-fi effect. This collection of previously unreleased tracks covers material recorded in their studio from a 7-year period. Their unique psychedelic vision touches on everything from beat poetry, house music and Ennio Morricone soundtracks." [Norman Records]
"Heroin In Tahiti is a duo from Rome, Italy hailing from the Roma Est scene, a sort of local community based in the crumbling and deteriorated neighborhoods which were already eternalized by Pasolini and Neorealist Cinema (think of Pasolini, De Sica, Visconti, etc.) The duo plays a variety of cheap guitars, analog synths, drum machines, and pedals, achieving a dirtiness which is tragically lo-fi and out-of-time at the same time: a "Spaghetti Wasteland", as they call it. In 2012 they released on Boring Machines their debut album Death Surf, a title which spoke for the music played on the record. The label said of the album: "Think of drinking a frozen daiquiri on a solitary beach while watching a poorly tuned TV broadcasting loops of If You Meet Sartana Pray for Your Death (1968), while Mururoa tests are happening at the horizon." When mentioning Italian occult psychedelia, Heroin In Tahiti seems the best choice to sum up the sound and the references that stay at the core of this all-Italian scene. With albums like the mammoth double LP Sun And Violence (2015), the minimalist Canicola (2014) and the monolithic Remoria (GRA 001LP, 2017), Heroin In Tahiti became a cult band for their particular signature. Casilina Tapes 2010-2017 is the latest (and probably last) output from the cult Italian duo. It's a collection of unreleased tracks recorded in their basement studio in Rome in the last seven years while building up their thematic albums. The label listened to the single tracks at once and they found out there's a coherence between them even if they have been created in different periods. Actually, they show a coherence that only Heroin In Tahiti, with their kaleidoscopic vision of how Italy secretly sounds, can properly conjure up. Boring Machines calls it "total music". You may find elements which reminds of long lost Morriconian soundtracks for cheap westerns or giallos, library music to accompany documentaries on Superstudio radical architecture, urban tribalism, beat poetry festivals on the seashore, and house music. Recorded in Rome, 2010-2017. Artwork by Francesco de Figueiredo. Screen printed covers by Legno, Milano." [label info]
|
2018 |
€20.00 |
|
| HIROSHIMABEND |
Vekks |
CD |
Since 1998, American producer puppy38 has been recording under the project name hiroshimabend. With a range varying from found sounds, field recordings and industrial rhythms to long, dark drones and ambient/avant-noise, listening to the music of hiroshimabend has been likened to the experience of swimming in a milky lake of black ink. Over the course of 19 years based in Austin, Texas, to the last few years residing in Vienna, Austria, hiroshimabend has released a significant body of work on self-run independent label opiumdenpluto. In recent years, the project has released several items in stunning hand-made packaging, for example a CD in a book with artwork by puppy38 or an 11 CD set based on recordings made at the clock tower in Prague's main square. Recent music has included archival sounds by the legendary band Coil, or vocal contributions by Zoe DeWitt of Zero Kama and Korpses Katatonik fame. Live At Vekks was recorded on a freezing cold night at Vekks Club, Vienna, in October 2021. The first installment of a series of limited edition CDs presenting recordings of live shows in Vienna. Full tracklist: 1. Benedictus Fornicatus 2. E4RK 3. Blobbl 4. Syllabarimau 5. A Priori.
https://www.klanggalerie.com/gg397
|
2022 |
€15.00 |
|
| HOLTERBACH, MANU |
Leonore |
7inch |
Best known for his field recordings or his work on Eliane Radigue archives, Emmanuel Holterbach reinterprets a classical opera in three short but intense pieces.
Artwork: Emmanuel Holterbach, Edouard Riou, Gwénola Carrè
www.lexidisques.net
|
2012 |
€8.50 |
|
| HOOR-PAAR-KRAAT |
A Doorbell of Earbows for Brefix |
LP |
Geheimtip aus den Staaten! Wer auf rauh-chaotische Collagenmusik mit hohem Objekt-Noise Anteil steht, die trotzdem stimmungsvoll atmosphärisch ist, sollte hier unbedingt mal reinhören. Die vier Stücke schwanken zwischen wirren, sehr konkreten Impro-Geräuschmusik-Passagen und eher dronigen Parts in denen auch vokales Material auftaucht, immer mit dem Hang, die wahrhaft ungewöhnlichen Klänge und Arrangements herauszuarbeiten...
"Grainy loop tracks, vocal tracks (which may or may not also be from tape), and surrealist music which isn't miles away from early Nurse With Wound. Richard Vergez (Drowning the Virgin Silence, Gray Girls, Mothersky), Duane Hosein (A Jealousy Issue, Hand Carved Gentleman, ex-Poison the Well). BRANDON SAMDAHL (Mr Entertainment and the Pookie Smackers) and ANTHONY MANGICAPRA bathe the entire thing in foggy reverb and mysterious scratching and shifting, which pulls it all together. It makes sense only as a dream transcribed onto recording equipment. The A side contains material previously released on The Huntington Chapters three-inch CDR (Small-Doses) and the B side is all previously unreleased recordings from the same sessions. Mastered by JAMES PLOTKIN." [label info]
"...The A side, previously released on Small Doses, is a tripped out burst of mysterious musical abstraction. Two tracks, clocking in
at about 18 minutes total, an abstract and spacious drift through some lost alien soundscape. The first track is all tinkling melodies, glistening high end, strange rumbling fluctuations way off in the distance, bits of creak and scrape, everything bathed in foggy reverb and warm wet swirls of tape hiss and atmospheric whir. Melodies creep in and out, as do bits of field recordings, it all feels like some cinematic bleary eyed wander through a hazy druggy flashback, a washed out world of lost memories and fragmented dreams. Here and there guitars grind and reverberate, and strange percussive sonic events drift into earshot, like an even more abstract Wolf Eyes maybe. Quite gorgeous and dreamlike. The second track starts out the same, a smear of high end
shimmer, but instead of spreading out into languid pools of blurry sound, things get decidedly more abrasive, the high end becomes
sharper, the percussion is more clattery and jarring, a disembodied voice intones some creepy monologue over the top, effects swirl and swoop, deconstructed riffs chug and churn, everything dizzying and disorienting, like the nightmare analogue to the opening track's dream.
The flipside also offers up two tracks, the first begins with a swirl of creaking metal, sizzling cymbals, clattery percussion, until suddenly the clang and crunch are transformed into a strangely rhythmic crunch, the metal sounding much deeper, more of a resonant bellow, all very chaotic and cacophonous, underpinned by deep distant rumbles. Which leads right into track number two, all birdsong and tinkling chimes, whispered voices, random sonic detritus, sharp slivers of momentary buzz, soft smears of static, very haunting and ominous and like the first side, quite cinematic. Beautifully packaged as always, pressed on thick vinyl, housed in full color sleeves with super striking artwork from HPK mainman Anthony Mangicapra. We know it's LIMITED too, just not sure to how many." [Aquarius Records review]
www.goat-eater.blogspot.com
|
2008 |
€15.00 |
|
| HOROLOGIUM |
A Handful of Dust and Ashes |
CD |
"A Handful of Dust and Ashes” is a collection of tracks recorded during various occasions, but united here by a peculiar sediment of dust and rust; it’s a journey in time to strictly limited “A Handful of Dust”, published by Cynfeirdd, and to “Opium”, amounts of which are long sold out and yearned for by those in search of lost time. The (re)collection is crowned by three tracks performed live in Barcelona and Bologna in 2008 and 2009. The artwork by Fab and Sophie embody fin de siècle that has never been that convincing and tangible.
Packaged in 3-panel digipack in new design" [label info]
www.zoharum.com
|
2010 |
€12.00 |
|
| HUM |
Caldron of winds |
mCD-R |
"Three beautiful tracks mixing dones and natural sounds from this talented & prolific russian artist (previous releases include a 7" on drone records and a cd-r on mystery sea). full-colour printed 3" cd-r with artwork by cyril herry." [label info]
"..More field recordings can be found on the release by Hum, also known as Dmitry Christov from Russia, or perhaps his other aliases, such Sphogha, Maw, Mikosterion or Small Town Zombie, all of which I never heard. Hum had releases on Mysery Sea and Drone. There you are. Here he has three untitled piece of slow enveloping ambient/drone music. A bit of field recordings is set against some obscure electronics, which are hard to pin down. Synths? Computer process? Can't tell really. It's a nice lo-fi affair this one, not high and mighty on the recording side, but full of raw intent." [FdW / Vital Weekly]
http://taalem.free.fr/
|
2007 |
€5.00 |
|
| HUMAN GREED |
Black Hill: Midnight at the Blighted Star |
CD |
Drittes Album dieser Band aus Edingburgh, die sehr melancholische instrumentelle Sounds (z.B. von Cello, Piano) mit ambienten synth- drones verbinden... für "Black Hill" konnten sie zudem namhafte Leute (u.a. DAVID TIBET und CLODAGH SIMONDS) zu Gastauftritten bewegen, aber auch so wäre dies ein äussert lohnenswertes Album für Freunde der ruhig-atmosphärischen, fast schon cinematischen Musik. Ein mitunter wunderschönes, mitunter verstörendes Werk, wie ein Eintritt in einen seltsamen fremden Traum..
"Maybe a release with the help of David Tibet, Clodagh Simonds, Fabrizio Palumbo and Julia Kent might not be the sort of thing I would want to sort out, but I only found that out after I heard Human Greed's third album 'Black Hill: Midnight At The Blighted Star'. Human Greed is a duo of Michael Begg and Deryk Thomas, and instruments are not given for them. The guests however contribute cello, voice, treatments and piano. I assume both Begg and Thomas are responsible for the electronics part of this project. The voices used are merely pushed to the background and seem to be reciting a small text every now and then. The piano and cello form nice counterparts in the ambient mass of sound, and warm interludes. This music, despite the occasional use of voices, is mainly instrumental music. Lots of sound effects, lots of atmospherics are captured here and as such resemble everything from Brian Eno to any and none in particular movement in the world of ambient music. Sometimes too forceful to be truly spacious, and sometimes with a sudden stop or change, but that adds, I think, to the quality of the album. Though not entirely new in approach, it takes the best from various directions in ambient music and makes a very nice hybrid form of it. " [FdW / Vital Weekly]
"The third album by Edinburgh's finest exponents of often haunting, yet always touching, ebb and flow. Includes very special guest appearances by Julia Kent (Antony & the Johnsons, Blind Cave Salamander), Fabrizio Modonese Palumbo (Blind Cave Salamander, Larsen), David Tibet (Current 93) and Clodagh Simonds (Fovea Hex). Gathering together material quite possibly amounting to their most accomplished yet, 'Black Hill...' is akin to being caught in the trail of a shooting star heading to the very place where dreams, fears, hopes and an overwhelming sense of helpless abandonment teeter over the periphery of yet another rather enticing void. At once beautiful, melancholic, slightly bruised and foreboding, the music here never fails to captivate. Also features fantastic exclusive artwork from Deryk Thomas and Alan McGowan. Released November 2008." [label info]
www.lumbertontrading.com
|
2008 |
€14.50 |
|
| HUMAN LARVAE |
Behind blinding Light |
LP |
"Born from the ashes of Broken Diode, Germany's Human Larvae first made an appearance with the “Home is Where the Hurt Is” (Existence Establishment, 2008). Human Larvae's ability to incorporate and balance more aggressive passages of junk metal clangor, swarming distortion, and ferocious vocals with hopelessly bleak and gloomy atmospheres immediately sets them apart from anything else in the scene today, though reference points can be made to Gnawed, IRM, Grunt, and Theologian. Behind Blinding Light is a recording of great depth and compositional expertise, and can be regarded as a benchmark recording of pure and true industrial music. Ltd x 200 copies with offset printed covers and four 15x15cm cards with artwork and lyrics."
|
2017 |
€20.00 |
|
| HUMAN QUENA ORCHESTRA |
Means without ends |
CD |
Für Fans des ultra-langsamen Noise-Rocks a la SWANS, GODFLESH, etc. kommen HUMAN QUENA ORCHESTRA genau richtig! Ihr Slow-Drone-Noise aus herrlich verzerrten & scheppernden Snare-Drums, entmenschlichtem Schreigesang & dunkel Noise-Flächen klingt unfassbar abgründig & visionär, wie ein letzter Aufschrei vor dem Untergang.
"Various permutations of this disc have been floating around for a while, each in various states of completeness, but every one we'd heard sounded even better than the last. But this is the one, the final, finished product. The long in the works Human Quena Orchestra, the work of Ryan Unks, formerly of techgrind combo Creation Is Crucifixion, but don't be expecting grind, or even technicality, this all the way on the other side of the spectrum. Abject, filthy, pummeling, slow motion noise drenched doom. A plodding sonic monster, guitars, not just distorted, but treated and twisted into harsh, skin scraping, caustic slabs of sinister sound, a low end so thick, it's like dunking your head in a cement mixer, insane sounding drums, each snare crack like the recording of a million breaking windows, each kick drum the sound of a slowed down car wreck. And beneath it all, thick swells of black ambience, drifting and slithering, pulsing and swelling. A lurching, stumbling
blackened doom dirge behemoth.
Think Swans, Godflesh, Pitchshifter, that sort of machinelike apocalyptic industrial pound, mixed with some funereal ultra doom a
la Moss, Bunkur, etc., but filtered through a druggy psychedelia, with a minimal shimmery drone bent, that ends up sounding like a way
more brutal, way more harsh, tripped out, psychedelic, industrial version of Jesu, that sort of blissed out sun baked vibe, but as if
played by some misanthropic black metal horde, harsh blackened vocals, shrieking hysterically and growling demonically over the relentless amp melting metallic trudge. Every track is rife with layer after layer of undulating low end. Like being tossed about on a stormy sea, but instead of water, it's an endless expanse of roiling black sound waves, rumbling drones, and thick snarled streaks of throbbing bass.
The magic Of Unks' Human Quena Orchestra though is that this hellish harshness is balanced with a nearly equal amount of
meditative ambience, long stretches of deep shimmer, and even some of the harshest tracks are tempered by the swirling low end drift
lurking beneath. So brutally gorgeous.
Definitely essential listening for fans of all the above mentioned outfits, as well as Monarch, Nadja, the Angelic Process, Fear Falls Burning, Skullflower, Abruptum, Monument Of Urns, Trollmann, Khanate, The Body and all our favorite purveyors of crumbling downtuned beauty and dreamy damaged doom.
Packaged in a gorgeous hand screened multiple panel fold over sleeve with super striking ADD style microscopic super detailed artwork." [Aquarius Records]
label-website: www.daftalliance.com
|
2007 |
€12.00 |
|
| |
The Politics of the Irredeemable |
CD |
Instrumental Apocalyptic Doom Ambience! Musik von erdrückender Intensität & urwüchsiger Kraft! Heftige Gitarren-Drones, wuchtige ultralangsame Pulses, Schreie, Noise... So brutal wie wunderschön. Gehört mit zum intensivsten, was es im Bereich "Industrial-Rock" der schleppend-zermahlenden Sorte zur Zeit gibt, natürlich muss man an alte SWANS denken, aktuell fällt uns sonst nur noch TRANSITIONAL, KHANATE oder BUNKUR ein. Das zweite Album!
"Ein bisschen Fantasie vorausgesetzt, stelle man sich folgendes Szenario vor: NAPALM DEATH wären keine Grindcore-, sondern eine Black-Metal-Band, und als Justin Broadrick sie 1986 verließ, um dann GODFLESH zu gründen, hätte er neben Industrial, Noise und Ambient eben auch einen Teil Black Metal in sein Projekt gebracht, aber mit dem Wissen, wie sich so etwas eben 2009 anhören müsste. Ein alberner Vergleich vielleicht, aber das aus Pittsburgh, Pennsylvania stammende Duo HUMAN QUENA ORCHESTRA schafft es mit seinem zweiten Album, eine ähnlich bedrückende Atmosphäre aufzubauen, wie es einst GODFLESH konnten und das eben mit ganz ähnlichen, aber noch heftigeren Mitteln, denn auf einen nachvollziehbaren Rhythmus und eine Songstruktur muss man verzichten. Eine den Songs als Fundament dienende Geräuschkulisse, darüber Schreie, Noisefetzen und ein sich ständig wiederholendes brutales Riff, das nur alle zehn Sekunden zusammen mit einem Drumschlag auftaucht: „The Politics Of The Irredeemable" ist statisch und undynamisch, wie eine massive, undurchdringliche Wand, die so dunkel, hoch und breit ist, dass du ihre Dimensionen nicht abschätzen kannst." [André Bohnensack, OX-Fanzine]
"Human Quena Orchestra first took shape as a solo project from Ryan Unks, who had previously played guitar in the final lineup of the Pittsburgh metal band Creation Is Crucifixion. After moving from CIC, Unks began to work on a new project that would incorporate elements of black metal, crushing drone music, extreme psychotropic noise and psychedelic/krautrock influences into a sound that would be much heavier any of his previous projects. The first album from Human Quena Orchestra was released in 2007 on Daft Alliance; Means Without Ends was a disturbing, introspective slab of blackened industrial doom that stood out in stark contrast from the rest of the slow n' low extreme doom scene, utilizing layers of harsh textured distortion and electronics to create a caustic form of monstrous doom that shared as much of industrial music's cold, machine-like aesthetic as it did the ultra-slow riffage of the most extreme variants of doom metal. At the same time that the bands debut was taking shape, Unks was joined by another former member of Creation Is Crucifixion, Nathan Berlinguette (who was also a member of the dark ambient project M.Kourie and the deathdrone duo 5/5/2000). With the addition of Berlinguette's skilled application of dark ambience and expansive soundscapes, Human Quena Orchestra began to move into even more textured territory which has culminated with the second HQO full-length, The Politics of the Irredeemable, a series of apocalyptic visions and epiphanies of endtime realization, prophetic screeds that look to a future rendered pustulent and war-stricken by the failed machinations of the human race, presented as six chapters that enter your consciousness through a delivery system of extreme industrial dread. The Politics of the Irredeemable is crushing and oppressive, a crawl through abstract fields of low-end sound that move from punishing blasts of ultra-heavy machine-doom and earth-shaking tectonic riffs, to thick fogs of black electronic ambience that shimmer with subsonic pulses and celestial drones, the presence of malevolent electricity crackling in the air around the lumbering, nightmarish electro-sludge monstrosity of the Human Quena Orchestra. And at the same time, there are passages of immense beauty on this album that lurk at the peripheries of HQO's malevolent crush; the track "Aspirations" for instance, where pummeling slow-motion industrial percussions grinds in an infinite loop beneath a swirling nightsky of kosmiche synthesizers and heavenly, blissed-out ambience, the drums becoming like distant mortar blasts heard over the horizon as terrified screams ring out and stars fall dead from the skies. Total deathmachine grind ambience. The CD is packaged in a heavy gatefold jacket with murky, dismal images of blasted city streets and torched monuments, with lyrics and quotations relevant to the apocalyptic themes on the album printed on the inside jacket. Comes with three 1" color buttons featuring artwork from the album." [label info]
www.Crucialblast.net
|
2009 |
€12.00 |
|
| HUNTING LODGE |
Shadows out of Time 82-83 |
3 x LP Box |
"Shadows out of Time is a collection of three LP's with unreleased and formerly cassette-only material from Hunting Lodge, representing the first blush of their creativity, a time when each sonic experiment festered into a beautiful sore. Dark Ambient, Noise, Power Electronics, all represented here before these pigeons
had holes in which to fit. One LP is comprised of the now-legendary EXHUMED, which was formerly released cassette-only, heard here in better shape than ever - direct-metal mastered from the original two-track mixes. The second LP is all unreleased material, highlights of which include never-heard gems from the recordings for the promotional cassette 23 MINUTES OF MURDER. On the flip-side, both literally and figuratively, are the electro-disco-teckno recordings used for intermission music at Hunting Lodge live shows in 1983.
The final LP contains Live material which was formerly cassette-only, including tracks
from AT THE HARRINGTON BALLROOM and S/M OPERATIONS LIVE, as well as much of the formerly unreleased LIVE AT THE LODGE.
Oft-bootlegged, this performance is pressed here direct from the original masters,
representing the two-piece early noise-unit of Hunting Lodge in harrowing live intensity. Furthermore featured in the Box-Set is an additional Bonus 7" including studio cover version of John Wright's „Stellazine Shuffle“ b/w „Learn to Will II“,formerly released on Nekrophile Rekords "Beast 666" cassette
compilation in 1983 These LP's and 7“ are presented with period-accurate, gloriously bold, black and white artwork. Each LP comes in it's own printed sleeve inside of a box printed with the Thomas Nordstrom artwork previously only seen on early Hunting Lodge stationery. Also included are liner notes by Jeff "Central"
Chenault and recording details, including information on equipment used, and never
before seen photos of live Hunting Lodge and of collectors minutiae. The scars will
never completely heal." [label info]
www.vinyl-on-demand.com
|
2010 |
€59.00 |
|
| HYBRYDS |
The Rhythm of the Ritual / Ein Phallischer Gott |
do-CD |
"Zoharum continues reissuing past works of one of the most interesting projects coming from the 1980s underground - Hybryds. ”The Rhythm of the Ritual / Ein Phallischer Gott” is the fifth instalment in the reissue series of Hybryds classic releases.
Sandy tells a few words about the period: In the 1990s only small independent labels existed which had their own area to cover distributionwise hoping to spread our music in the world. ”The Rhythm of the Rituals” (1994, Charnel Music) and ”Ein Phallischer Gott” (1997, Crowd Control Activities) shared some songs. There were no official media supporting this world of “underground” music. Acid and rave became popular in the “commercial” scene. Pro Tools was the magic word. But we made our music live on the 8-track. The only sequences were the drum machines. We stayed loyal to working the old-fashioned way. It's the more rhythmical and ethnical site of Hybryds, lots of percussion, played acoustically, or sampled and looped, or from drum machines. Some of the basic music was from the 1980s but by then we worked on a reel-to-reel 8-track tape recorder with a bigger mixing desk. Livewise we started to transfer to our cyberpunk period (as visible in the live version of ”Whisper”). Depending on the demand we had two live shows, the “magical” or the cyberpunk. It was also the time when Yasnaïa and me did the live shows alone. We did not work live on stage with others anymore. We had a manager, Patty Hele from Motherdance. It was easier to travel and perform with two people only. Yasnaïa released her solo album and started playing live with her solo project.
The first CD collects tracks from two studio releases ”The Rhythm of the Ritual” and ”Ein Phallischer Gott”. The live CD contains live versions of the studio CD (some taken from the live Obuh vinyl LP) and some extras, like an unreleased song ”Dusk Falling”." [label info]
www.zoharum.com
"Neben dem Backcatalog anderer Bands taucht in den letzten Jahren auch immer wieder ein Album der HYBRYDS via ZOHARUM auf. Mit „The Rhythm Of The Ritual/ Ein Phallischer Gott“ ist man dabei bei zwei Werken von 1994 bzw. 1997 angekommen, die nun ergänzt um Live-Aufnahmen aus der Zeit als Doppel-CD, wiederaufgelegt werden. Hierzu ist allerdings anzumerken, dass nur drei Stücke des „The Rhythm Of The Ritual“-Albums enthalten sind. Die drei anderen wurden bereits mit der (Wieder-)veröffentlichung von „The Ritual Should Be Kept Alive“ 2015 erneut ans Tageslicht befördert. Auch nicht alle Stücke von „Ein Phallischer Gott“ haben es auf diese Zusammenstellung geschafft. Dafür taucht z.B. das eindrucksvolle „Call Of The Tuareg“ auf – ein Compilation-Track aus jener Zeit. Auf die fürchterlichen, quietschbunten 90er Jahre Computer-Cover der Originale wurde zum Glück nicht zurückgegriffen. Stattdessen wurde dem Release ein absolut stimmiges Artwork verpasst, das sich in die aktuelle, künstlerische Darstellung der HYBRYDS einpasst.
Dass die vorliegenden Aufnahmen um die zwanzig Jahre alt sind, lässt sich tatsächlich nur schwer heraushören. Frei von damaligen Trends wirken die Stücke eher zeitlos. Die stark Ritual-, Tribal-lastige Musik wird zumeist von einem Rhythmus-Loop zusammengehalten, über den nicht durchgängig aber hin und wieder YASNAIAs Stimme gelegt wurde. Daneben erklingen Flötenklänge und Synthesizerpads, so dass der Gesamtsound mal organischer und mal elektronischer wirkt. Beteiligt waren an den Arbeiten damals auch illustre Gäste wie HERMAN KLAPHOLZ (u.a. AH CAMA-SOTZ) oder MOON FAR AWAY.
Die Live-Aufnahmen und Proberaumaufnahmen der zweiten CD stammen ebenfalls aus der Zeit – zumeist 1996. Neben anderen Stücken, sind hier auch einige Tracks noch einmal in der Live-Version vorhanden, die auf der „Studio-Seite“ bereits zu finden sind. Der Sound ist dabei bis auf einige Ausnahmen durchweg recht gut.
Wie oben dargestellt ist „The Rhythm Of The Ritual/ Ein Phallischer Gott“ keine Wiederveröffentlichung im eigentlichen Sinn, sondern eher eine Zusammenstellung von Stücken aus einer zeitlichen Periode, die in sich aber absolut stimmig und geschlossen wirkt und mit den zusätzlichen Live-Versionen und Outtakes einen gewissen Mehrwert mitbringt. Hörer, die sich für rituellen und Tribal-lastigen Ambient interessieren, sollten ruhig ein Ohr riskieren, da die Musik ohne Frage gegenüber der heutigen Konkurrenz mithalten kann – mindestens."
[Tony F. für nonpop.de] |
2016 |
€16.00 |
|
| |
Cortex Stimulation - Virtual Impact |
do-CD |
The next installment in the series of Hybryds classics reissues, consistently continued by Zoharum for years. This time we get two fullalbums, which, despite a few years between them, complement each other perfectly, showing a slightly more electronic face of the work of Belgian musicians.
The first CD "Cortex Stimulation" was recorded with the participation of befriended musicians from Dive and Deutsch Nepal. The second disc "Virtual Impact" is a 100% live album, recorded during the band's performances at MS Stubnitz, Wave-Gotik-Treffen and Nursery Injection, which also featured guests from Deutsch Nepal, Dive or P.A.L.
Originally, both albums were published by Daft Records, owned by Dirk Ivens. Today, refreshed, completely remastered and with new artwork by Sandy Nys, give the opportunity to rediscover for those who already know the earlier publications. For those who have not had yet the opportunity to know them in the past, it will allow to uncover an interesting and creative period in the activities of Hybryds
|
2021 |
€16.00 |
|
| HÖFER, SASCHA ROSEMARIE |
Music for Video Art & Sound Installations |
MC |
All instruments and arrangements by Sascha Rosemarie Höfer
except »Orpheus, vor mir die Flut« Bass Clarinet by Carola Schaal.
Cover photography by Melanie Schoenmakers.
Artwork by Andreas Usenbenz. Mastering and cassette duplication by Studio Sechzehn.
sascha-r-hoefer.de
https://www.klanggold.net/releases/sascha-rosemarie-hofer-music-for-video-art-sound-installations/
|
2020 |
€9.00 |
|
| I SNOR |
The Wolf Project |
LP |
"This record is a redefined version of the soundtrack -i Snor did for the eponymous contemporary dance act choreographed by Kenneth Flak and Külli Roosna, still performed around the world. Artwork by Pawel Nowakowski." [label info]
www.skratrecords.com
|
2014 |
€18.00 |
|
| IF, BWANA |
Gruntle |
CD |
Vier neue Stücke mit weiteren köstlichen Seltsamkeiten aus der IF BWANA-Welt, basierend auf Synths & normalen Instrumenten (violine, bass), Feedbacks und Sinustonwellen, zu hören gibt es konkretes & elektronisches Gegurgel & Gemurmele & insektoides Gewisper, insgesamt sehr geräuschhaft & speziell, Anklänge an SMALL CRUEL PARTY, JOHN HUDAK, etc.. kommt wieder im speziellen 3-teiligen & klappbaren ABSURD-Kreis-Cover !
"guess that most of you are used to al margolis's (aka 'if,bwana) more 'serious' electroacoustic soundscapes and expect 'gruntle' to be another fine addition to this style.. in a sense it is... a unique if, bwana
recording, collecting 4 tunes recorded between 95 - 02 which however refer more to the legendary if,bwana tapes sound (if there weren't a kinda remaster to the original tapes, would have been even more lo-fi hissing electroacoustics) where al's creative play w/ loops & enigmatic sounds together w/ the childlike artwork of nixilx.nijilx make it a wonderful trip in a bizarro world..." [label info]
|
2005 |
€10.00 |
|
| ILLUSION OF SAFETY |
In Session |
CD |
Neues Material des Projektes von DAN BURKE - als eher elektronisch arbeitende Industrial-Band fing man an, aber die verschiedenen Metamorphosen in der nunmehr 25jährigen Geschichte führten über Geräuschobjekt-Improvisationen und eher collagigen musique concrete Werken bis hin zum dark ambient und drone-basierender Musik.
IN SESSION führt einiges davon zusammen, besitzt Anteile von verschiedenen Stilen, spannungeladen & sirrend, wellig, dronig, dicht, wieder ein kleines Meisterwerk.
Geräuschmusik wie sie intensiver kaum vorstellbar ist.
"Illusion Of Safety is one of the oldest post-industrial acts in the Americal musical underground, and in my opinion, of the most interesting projects ever. During 25 years of existence IOS have recorded a lot of various albums and their music has been changing a lot. Having passed through all the circles of industrial hell, Dan Burke has lost almost all his companions and remained alone. He hasn't released too many albums recently, and "In Session" released in 2008 has become a real surprise for me. I mean of course the fact of the release, because the highest quality of musical material and huge amount of pleasure while listening to it is guaranteed by any of IOS albums. "In Session" was recorded in 2007, the mastering was made by Thomas Dimuzio at Gench Music Studio. This is a very thorough and delicate work, an abstract performance in which synthetic and natural sounds mix in the most unusual combinations, when you really hold your breath to wait what's gonna be further. In 6 tracks of the album there are a lot of quiet microscopic sounds which whirl in front of the eyes like thoughts without rational content. They change into the smooth waves of melodic ambient, then to insane sampled collages which don't make you feeling relaxed keeping the constant tension. This shortening of the distance between contemplativeness and neural spasms has always been the trademark of IOS - it's interesting to watch how the musical structure transforms under the emotional passion hiding after each second of the track time, but not always going out. Separate compliments should be given to the artwork designer - you can observe the cover for a really long time being astounded by it's beauty. [Dmitry Vasilyev, Monochrome Vision]
"One of my favorite post industrial bands ever. Period. Since more than twenty years I am a fan and every new release is awaited with eager anticipation. This highly limited release from Russia, in a gorgeous package, is no different. These days, since many years actually, Illusion Of Safety is reduced one person, following a free floating membership that included Thyme Jones and Jim O'Rourke to mention just two, which is Dan Burke. He plays 'sound generating devices and random objects that deliberately provoke, mesmerize and even affront listeners'. I deliberately use the term 'post industrial' and not say 'electro-acoustic' or 'musique concrete', which could also easily be applied to the music of Illusion Of Safety. When they started they were firmly rooted in the world of industrial music, and later on elements of musique concrete came along, but if you listen to 'In Session' the elements of industrial music are still there. Heavy, steel walls of drone music pierce your ears and are as easily replaced by soft drones, crackling sounds of hand held objects and contact microphones. I wouldn't be surprised if Burke plays all of this 'in session', live at home so to speak. I saw him a lot of times playing concerts which capture the equal beauty that is captured here. Ranging from sheer noise to near silence and there is always an element of surprise lurking around the corner. An abrupt, full stop or start and it bring the piece in a new territory. Illusion Of Safety's music can be compared with the likes of Roel Meelkop or Toy Bizarre, but is less bound to rules of composition and more free and joyous (well, that's probably not the right away) than those of the microsound/musique concrete posse that inhabits the world of Vital Weekly so frequently. That alone makes a great band and another great CD. Very fine concentrated bursts of sound." [FdW / Vital Weekly]
"The first proper record from Illusion Of Safety in well over 5 years emerges from the Russian label Waystyx, meaning that this will
not be around for long and will not be easy for us to track down once these are gone. Just a caveat before we launch into the, um, virtues
of this exercise in muscular electronics and brainmelting dronescaping. Illusion Of Safety began well over two decades ago, firmly embracing the death factory imagery and psychological tension that came through the work of Throbbing Gristle, John Duncan, and The Hafler Trio. While the grizzly subjects of torture and sexual violence have dissolved over time, Illusion Of Safety's interest in unsettled soundscapes, collages, and electronic walls of noise remain as powerful as ever. Illusion Of Safety has always been a revolving door project centered around Chicago's Dan Burke; and In Session finds Burke alone at the helms of Illusion Of Safety, concocting a dizzying series of arcing electroshock compositions filled with intense dynamics and rapid crescendos of incremental noise quickly nosediving into subharmonic tones and microtonal squiggles, with plenty of slow
building elements in between. The piercing drones that dominate the Illusion Of Safety palette are matched with crumbled textures from electronic circuits on the verge of collapse (see Wolf Eyes, Carlos Giffoni) and contact microphone agitation (see Tarab, Eric La Casa,
Loren Chasse, etc.). There's one track of grim psychedelic arpeggiations which sounds as if Prurient were attempting a Terry Riley piece, with bad intentions running through the phase shifting loops. Totally fantastic, if not totally disquieting!" [Aquarius Rec.]
|
2008 |
€13.00 |
|
| |
New Rules, Same Game, Less Instruction |
CD |
Chicago's post- / ambient industrial legend is back with a work that combines electronic sounds and field recordings:
microscopic audio events, loops, heavily processed material of all kinds form seven multi-layered collages
that seem to be full of electro-magnetic static, morphing and transforming like a hallucinogenic object in every second and in all possible directions...
in all it's subtleness this is far away from the shock treatment noises of the early IOS times.
'New Rules, Same Game, Less Instruction' is the first release of new IOS compositions since 'Surrender' in 2015.
Featuring extensive synthesizer source material as well as other now familiar electro-acoustic techniques
it is conceived as a follow up to the 1995 3” CD release of 'Rules Of The Game', alluding to the social, political,
and psychological games humans engage in for validation, survival, or dominance. New Rules, same game, less instruction, harsher penalty.
Illusion Of Safety now more than ever.
Mastering: THOMAS DIMUZIO / Artwork: DAN BURKE
listen to one track from the album:
https://soundcloud.com/drone-records/illusion-of-safety-malicious-intent
order:
https://www.dronerecords.de/album.view.html?album=20793
|
2021 |
€13.00 |
|
| IN MEDITARIUM [IN MEDITARIVM] |
Mare Internum |
7inch |
“IN MEDITARIUM is maybe Ukraine's finest dark ambient-project at this time, consisting of Sergey Svistelnik (who also runs the UKRAINIAN DARK SYNDICATE and is musically active as FILIVS MACROCOSMI), and Oleg Kolyada (mastermind of FIRST HUMAN FERRO (F.H.F.) / ODA RELICTA). MARE INTERNUM, their first vinyl-release, is a perfect example for “esoteric organic drones” that impress with their density and fullness: slowly waving drones, sub-bass pulses, totally suspended & hidden harmonies appear in the background and soft ringing-tones, like being in an huge organic cathedral...
Listening to IN MEDITARIUM-sounds might give you an impression of touching something “unknown”, yet known unconsciously from some forgotten time... like being suspended in warm mothers womb....
The coverartwork shows a combined symbol made of Yantra (meditation), Rosa (woman) and OM (the absolute), showing the way from Uterus to Universe. WHITE VINYL. SILKSCREENED SYMBOL-COVERS” [press release]
“...As so often with “Drone Records”-releases they appear to be too short at first, only to release their magic after repeated listenings. Soon you’ll find yourself flipping sides like a drunken man in hypnosis, one step deeper into the labyrinth each time. As long as it still breeds music as evocative as this, you’d almost wish for Industrial Culture never to disappear from Russia.” [Tokafi]
|
2005 |
€7.00 |
|
| INDO |
Rupa Loka |
CD |
"The Rupa Loka, one of the hidden planes of existence beyond our own is the focus for this album, a serene world populated by beings more refined and evolved than ourselves. The album is a journey through this nature kingdom and incorporates soundscapes rich in flavour and diversity. The recordings were originally produced in 2009 and rediscovered and carefully reassembled and remastered in the process. The album comes in a jewelcase with a 12-page booklet depicting the realm of the Rupa Loka." [label info]
http://gterma.blogspot.se
"Indo‘s ‘Rupa Loka’ brings us back in 2011, actually it was recorded in 2009 so I guess this makes the record already pretty ancient in the context of our current times, when daily you are given access to countless records, either old or new. However, in your daily routine I hardly advise you to find your way to the first ever record, that the Swedish ambient label gterma has ever released. At first the record is striking you with its picturesque artwork, especially the amazing photographs in the inlay (which has actually already became signature for all gterma production). The whole art direction and the general concept of the record leaves a strong feeling for an Eastern cultural influence, but still this artistic decision is not over-imposed on the listener by any means.
What we have here is one very powerful and beautiful ambient record. Rupa Loka is soaked with meditative, slow and immense drones which are additionally embraced by fragile and delicate soundscapes. However, what makes this record truly special are the field recordings. The Hungarian musician Andras Kiss, who’s actually the person behind the ambient act Indo (as this is quite an overused monicker in music of all genres) didn’t capture anything you haven’t heard. His sounds are natural, familiar, not probably but certainly surrounding all of us in our daily lives, but he incorporated them with such a skill, that would surely make you a bit envious if you’re also producing music yourself. What is more important it will surely make you consider how much life, emotion and potential there is in the sound and ambiance of our everyday surrounding, but due to our mental simplicity we’ve accepted all of this perfection and endlessness for granted.
Rupa Loka is anything but a record for the simple minds, just like its Buddhist concept suggests its aim is to recreate a dimension, a form of existence inhabited by higher results of evolution. Quite a pretentious and tough aim, but so subtly approached that it leaves you smiling with satisfaction, when you realise the record really serves its purpose. This album is so alive and so organic, that at a certain point you forget that a human hand and mind initiated this impressive sound sculpture. I don’t need an artwork for this, neither track titles or a band project. I just need the CD carrying this art piece, which is interacting on way too too many levels with my personality, so by no means I can accept it as just another ambient record I got for the day. What a great start for a label! What a great artist statement!" [Angel S / Heathen Harvest]
|
2011 |
€13.00 |
|
| INDRA KARMUKA |
su'o / rana (SOLD OUT) |
7inch |
first edition
limited to 250 copies, clear vinyl,
transparent cover artwork
released November 1996
"This is the first release by this trio from amsterdam, who seem to be deeply concerned with religious themes from the indian mythology.
'Indra Karmuka' is a notion from the sanskrit-language spoken in India. The two titles are pieces of flowing and transcendental droning music, which arrive at your cognitive system to stimulate you emotionally at the highest degree. indra karmuka work with bells, synths and strange minimal sources (not possible to define exactly) and create a deep natural touch inside it. note: one member of indra karmuka already released an lp on the korm plastics ambient-series as k-s-p (ky-sync-pulse)!
"it's time for a new engramm in your brain - with indra karmuka!" [label info]
|
1996 |
€ |
|
| 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 |
|
| INGENTING KOLLEKTIVA |
An Anatomy of Melancholy |
LP |
"Recordings revolving around the atmosphere of George Büchner's Lenz and various melancholies provoked by Robert Burton, the recordings of Krzysztof Penderecki and the idea of Lontano (as from a distance / distant), the textures of Jordi Savall (La Guirnalda de Rosas inspired by a fragment from Saval's Mare Nostrum) and Ingmar Bergman. Recorded 2010-2015. May pain be my reward.
released November 19, 2015
Edited and constructed by Matthew Swiezynski
Artwork by Mathias Fludd
Design by Matthew Swiezynski
Mastered by Taylor Deupree
Electric guitar on Religious Melancholy in Defect by James Hamilton
Acoustic guitar on Lenz Two. Büchner guitar solo by Johannes d'Église
Field recordings by Tarrl Lightowler & Matthew Swiezynski
All tracks recorded in Arthur de Eriomém's rural library Casa di Memoria
Instruments :
64' jazzmaster, 72' telecaster, jazzmaster japonesque, twin reverb, vibro champ, pedals, samples, harmonium, bells, strings, and lp feedback" [label info & credits]
ingentingkollektiva.bandcamp.com/album/an-anatomy-of-melancholy
"An impressive literary, cinematic, and musical knowledge base is at the root of the Ingenting Kollektiva's inspiration for crafting their hauntological compositions of spectral minimalism. "May pain be my reward" is a line of text taken from an incomplete 1836 play by Georg Buchner, later adapted by Herzog in 1979 for film and various theater groups over the centuries; and that text becomes the central tenant to the Kollektiva's An Anatomy Of Melancholy, that mines the dissonance of Penderecki through the lens of the guitar-n-pedal, buzzsaw blur of Maeror Tri, Mirror, and even some of the less low-end centered works of SUNNO))). The backmasked incantation and the snippets of dialogue further the shadowy references to an occluded and arcane ritual of an otherworldly mysticism. Beautiful, spiritual, and haunted all at once!" [Aquarius Records]
|
2015 |
€18.00 |
|
| IRM |
Order⁴ |
CD |
"IRM has already existed for over 10 years and are recognized as one of the most interesting Industrial bands around. This time Martin Bladh and Erik Jarl are joined by a third band member Mikael Oretoft on bass-guitar. This new work by IRM is a deeper delving into the psyche of the self inflictor - the core of inner regions violently exposed. Comprised by four tracks, each exactly 15 minutes in length we are thrown into a vortex of feedback, cymbaldrones, heavy bass-strumming, nightmarish pianotinkles and irreproachable synthwork. Demanding your attention all the way through - certainly not an easy listening experience - describing the course of events is impossible. It is again a mature and intricate work of incisive delicacies and theatrical ambiences. The sense of detail throughout is immense and the editing perfect. The clinical heaviness of earlier works are now transformed into a pure harsh, static soundwave which are most often cut off by another, slower, softer but in ways a more painful and dynamic one. The lyrics here are deeper cuts into personal matters. A man altering between life and death - a calculating and disillusive thinker and recluse who has lost the grip of reality, or perhaps found another? The strife for self-control turned into sick dedication, waging war on himself to receive recognition - the end comes nearer. Seldom have we heard a strange work like this which turns both lyrics and music into a full whole - stay away if deeper encounters with the human mind offends. The creative artwork was made by the renouned Swedish artist Stefan Danielsson, who also made the frontcover artwork for Whitehouse album "Racket"." [label info]
www.coldmeatindustry.com
|
2010 |
€13.00 |
|
| ISABELLA, JASPER & SIMON FISHER TURNER |
Savage Songs of Brutality and Food |
CD |
"This is the blurb.
I think it’s a press release, too, about this album I’ve made with my kids’ voices and sounds and these home recordings we’ve made over the last 13 years.
They’re now 15 and 17 and who knows what they think.
I know they’re not too interested in it this now, but they’ve seen the artwork and pictures and obviously they know the tracks, but I don’t think they actually realise this is coming out and that strangers can buy the LP in a Record Shop or online with actual money.
For years as the two of them were growing up I was always photographing and recording their lives. Over 68,000 pictures on my desktop, and hours of recordings. This is commonplace now, but when I was growing up maybe the Brownie would come out on the beach on Whitsand Bay, or if we went on holiday, a picture of a mountain or something interesting like, a pizza. Mum had a reel-to-reel she never used, and I had a radio. Dad was underwater.
Why go on holiday when you live in Cornwall. Dad was a submariner based in Plymouth and my mum was a mum and a Rally driver. Three boys to look after. Chaos and serious hard work. Now both my parents are dead, I’ve photos from mum’s albums, but oddly enough Dad never took photos at all, and distrusted them I think.
So to this album. It’s the first thirteen years or so of our children’s lives made into cute and cruel songs of experimentation and, yes, chaos again. So, from the first heartbeat (not included here) to just under two years ago, I randomly and sometimes secretly recorded them singing or talking, often encouraged of course by me. That’s what parents do. I recorded for 13 years. It’s rather wonderful to have sound documents as opposed to pictures. Luckily I have both and I’m still rediscovering forgotten sounds even now.
This is a music/sound diary (perhaps) of the frankly mad, cute, annoying, moving, innocent, loud, loving, embarrassing, noises of their lives up to now, as recorded and messed up by me, as in messed-up-and-I-don’t-care, but do I care. I try to edit with clarity where needed, but otherwise the vocals and ideas are pretty raw and unaltered for the sweeter market of pop. This is just STUFF. Wild and Alive.
Rebels without a pause.
I was a dad with slithers time on my hands and a Mac I could barely understand. I made tracks/songs, whatever you want to call them between cooking, cleaning, bathing, shopping, driving, and sleeping ad infinitum. It’s the three of us mainly, with The Elysian Quartet thrown together for The Mighty Dinosaur song, but I’m the leader, the captain of the ship. You always need a Captain and they were my sonic crewmates, even though they were often press-ganged into service reluctantly.
. There will be no Volume Two.
They’ve eventually got really fed up with me doing this, and I can’t blame them one bit, but when faced with all these bits of songs or, fragments of stuff, what do you do? Throw them in the bin, give them to them on their wedding day and really make them cringe?
No. The best thing to do is to compile them like a mix tape and keep your fingers crossed that someday, someone might be interested in releasing a compilation of this madness.
Charles Powne from Soleilmoon Recordings came to the rescue, in that he mentioned somehow whether I’d heard of an LP of children’s songs. I hadn’t in fact, but I told him about these recordings I’d been making over the years.
Isabella and Jasper I think are now probably incredibly pissed off with me, but you know, that’s tough. Full stop.
Now at 17 and 15 their childhoods are over. The illusions shattered. There is no pretence. They can watch the news, Snapchat at speed, and lurk on the net who knows where.
Innocence has gone, battered out of them by schools and the more serious and dull adults that surround them. They were the funniest and most amusing two smaller people imaginable, but now, they’re Teenagers…….Aaahhhhh.
They’ve opinions, they’re brighter than me, better looking, funnier, nicer clothes, better humour and taste, and they’ve more friends than me too. The job is done.
I’m sadly responsible for the musical settings they happen to find themselves in, although, quite often all the music or at least some of it is made up from their noises too. We like a noise here and there and we love to dance on a Friday night.
One of the beauties of this sort of music is that there are no rules. We could all do with this sort of freedom, in not just music, but film, cooking, and storytelling. A child’s imagination is the finest open canvas ever. No rules rule.
Oh God, I sound like a dotting dull dad. C’est la vie.
Stay well and keep calm and risk everything with passion and love."
-- SIMON FISHER TURNER
LONDON, 25 JUNE, 2020
https://isabellajasperandsimonfisherturner.bandcamp.com
|
2020 |
€14.00 |
|
| JACASZEK / ROMKE KLEEFSTRA / JAN KLEEFSTRA |
It Deel I |
LP |
SOUNDS FROM THE FORESTS
IT DEEL is a new project for the upcoming years by the Kleefstra Bros in collaboration with Popfabryk. The underlying motive for this new project is the disastrous damage to the nature. Together with guest musicians the brothers work on new material in the Thomaskerk in Katlijk (Friesland, NL) which stands in relation to this theme of environmental decline. Each project is presented live in front of an audience after a week, and results in a vinyl release on Moving Furniture Records.
The Kleefstra Bros: “Trees are pre-eminently the example of life forms that are predestinated to a fixed place. This spot is where they have to survive. For tens, to hundreds of years they are bound to this specific spot, surrender to it. With untouchable patience, many of the trees in Oranjewoud (an old forest in Friesland) have seen many generations of people pass by. But still we claim as if we can decide over their lives and let them suffer with all our interventions in their environment.
The Kleefstra Bros are poet Jan Kleefstra and guitarist Romke Kleefstra. Both are member of (amongst others) Piiptsjilling, The Alvaret Ensemble, CMKK, Tsjinlûd and Kleefstra|Bakker|Kleefstra. For IT DEEL I in 2021 they collaborated with the Polish composer, producer, and sound artist Michał Jacaszek.
Michał Jacaszek creates electro-acoustic music in which electronic sounds are combined with acoustic instruments. He often collaborates with other artist from various backgrounds incl. video art, visual arts, dance choreography and photography.
IT DEEL I is released on vinyl limited to 300 copies in artwork designed by Rutger Zuydervelt and available digital.
The album will be presented with a short tour in the Netherlands this fall.
More about Michał Jacaszek jacaszek.com
More about Kleefstra Bros kleefstrabros.bandcamp.com
More about IT DEEL popfabryk.nl/project/it-deel
Michał Jacaszek: electronics, string arrangements
Jan Kleefstra: words, vocals
Romke Kleefstra: guitars, bass, effects
Recorded at the St. Thomas church, Ketlik, the Netherlands, by Jan Switters, June 1-4 2021 produced, mixed and by Michał Jacaszek
Mastered by Michał Jacaszek & Jos Smolders
https://kleefstrabros.bandcamp.com/album/it-deel-i
|
2022 |
€18.00 |
|
| JARL |
Symptoms Variation / Sensory Deprivation |
3 x CD |
Erik Jarl is back with his fourth album on Reverse Alignment. Two and a half year has past since "Hypnosis Colour" was released and Jarl is now releasing a 3CD massive work.
True to his format, he delivers an album with experimental psychedelic textures combined with his own trademark of turbulent withdrawn electronics, this making path for a hard defined style. Classic Jarl but still innovative.
As previous the music is accompanied with splendid artwork by Karolina Urbaniak.
https://reversealignment.bandcamp.com/album/symptoms-variation-sensory-deprivation |
2019 |
€20.00 |
|
|
Inner Domain |
do-CD |
“Inner Domain” is a third (after “Tunguska Event” and “Negative Rotation/ Intensive Fracture”) release by Jarl on Zoharum label.
Artist himself often labels his music as withdrawn electronics focused on isolation. Psychedelic, chemical, unbalanced, from calm to destructive, insomnia with or without structure. In this case music was influenced by experiencing sleep paralysis. Each CD deals with either the hypnagogic or hypnopompic state. The before and after experience.
“Inner Domain” offers a bit more primitive and aggressive approach to sound but still has that psychedelic feel to it which hallmarks Jarl’s works. Originally intended for a double cassette release and recorded between 2007 and 2009 on either a 4 or 8 track recorder. Electronic sounds on album made with a wave form generator interwine with acoustic sounds with lots of delay. No computer was used during the recording process. Artwork made by Karolina Urbaniak
2CD album folded in 6-panel ecopack released in strictly limited edition of 300 copies
https://zoharum.bandcamp.com/album/inner-domain
|
2020 |
€16.00 |
|
|
Hyperacusis |
LP |
Erik Jarl hails from Sweden and is actively recording and releasing for over two decades now either solo or as a part of power electronics/industrial acts like IRM and Kaiten. On his fourth release for Zoharum titled “Hyperacusis”, Jarl gravitates towards drone void as he explores and sonically interprets this rare hearing disorder.
Album consists of 2 long (around 20 minutes each), trance inducing tracks that put you into sedative state. Drones, high frequency pulsations and oscillations work here as a intronautic vessel in which you descend into into the depths of subconscious and as much as we are aware that this is a bold statement the closest comparison that comes to mind is Coil’s Time Machines. Yes, we said it.
At first this appears to be a demanding piece of work but it’s utterly rewarding and eventually makes you wanna listen to it on and on and on… (to turn your mind off… to turn your mind off...)
Mastered by Natt
Artwork by Radosław Kamiński
CD edition of 250 copies comes in a 6 panel digipack.
LP edition of 100 copies pressed on 180g black wax
https://zoharum.bandcamp.com/album/hyperacusis
|
2021 |
€20.00 |
|
| |
Spectrum Confusion |
CD |
Spectrum Confusion is Jarl’s fifth album on Reverse Alignment, following on from 2019’s massive triple CD release Symptoms Variation/ Sensory Deprivation. And once again Karolina Urbaniak has masterfully created the cover artwork, as she’s done for the four earlier Jarl releases, also released by RA.
Spectrum Confusion consists of three long-form pieces showcasing his trademark psychedelic, hypnotic approach, but this time the presence of bubbling and pulsating sounds makes the music sound closer to the electronic experiments of Northern European avant-garde composers in conjunction with more melodic passages harmonically coexisting alongside the abstract elements. Jarl’s music has entered its more mature stage here, and Spectrum Confusion consolidates his reputation as one of the most interesting and original European electronic music composers.
Swedish musician Erik Jarl has been active since the Fall of 1999, principally as Jarl. He was also a member of post-industrial act IRM, of which Erik was one of the founding members. Jarl’s music has been released on several labels through the years, and he has collaborated with acts like Anemone Tube, Envenomist, and Skin Area. Erik Jarl composes his music through a total analogue approach with the use of synthesisers, analogue sequencers, waveform generators, and oscillators, as well as several echo/reverb and delay units.
https://reversealignment.bandcamp.com/album/spectrum-confusion
"More and more, the territory for Vital Weekly is that of modern classical music, improvised music and such; the last resort of physical releases, perhaps? I am glad that there is also music from Erik Jarl dropping on my doorstep now and then. Just for the sake of hearing something else, also because I have been quite a fan of his music over the years. After all these years of reviewing his music, I still have not a clear picture of what Jarl does. Maybe I believed he was a man of computer technology for a while, but I think that the modular synthesiser is his instrument of choice in recent times. When I was playing this CD, I used some more volume to drown out the clarinet rehearsals taking place upstairs, and it occurs to me that there is a slightly more cosmic streak to his music this time around. I doubt the volume is a contributing factor to that thought. I had this realisation, and I thought there was a straight line from Conrad Schnitzler's 'non-keyboard electronics' to the world of industrial music. Jarl's sonic paintings are dark and bleak; they are slow and minimal. Yet, it is also music of hope and light. This music is not the dystopian cosmic journey of a spaceship returning to the destroyed earth, but rather, well, such as I hear this, a celebratory trip back home. The spacecraft is in slow motion returning from whatever it was doing in space anyway. The additional reverb sets some of the moods here. It bursts and bubbles along the edges of the massive drones. Maybe because Jarl adds a melodic touch to his electronics, it made me think of that. I took a peek at Vangelis' recent tribute to Juno (the Jupiter moon, not the synthesiser), hailed in the daily, but I feel NASA missed out on Jarl's music for this occasion. His soundtrack would fit Juno much better than Vangelis' orchestral brushes. Alright, next time, Nasa, go to Sweden and talk to Jarl!" [FdW/Vital Weekly]
|
2021 |
€13.00 |
|
| JGRZINICH (JOHN GRZINICH) |
Ferric |
mCD-R |
"One 20min long piece created by this eminent american (but living in estonia) sound artist and based upon field recordings, a wind harp and various improvised wire and metal constructions. b&w printed 3" cd-r with artwork by john grzinich." [label info]
"The vastly growing empire of Taalem: an endless line of 3" CDR, a bit like the other endless line of 7"s on Drone, and covering many similar names and music. The first new one is by Jgrzinich, who has been active in the field of recordings for more than a decade now. These days he is in southeast Estonia, where collects his field recordings, along with rusty metal wires, a wind harp and such like. 'Ferric' is one piece of alternating drone music and back in the shack rusty metal shields, carefully swung together. Highly atmospheric, slowly in decay towards the end." [FdW / Vital Weekly]
http://taalem.free.fr/
|
2007 |
€5.00 |
|
| JOHN 3:16 |
Visions of the Hereafter - Visions of Heaven, Hell and Purgatory |
CD |
"Philippe Gerber/JOHN 3:16 has played more than 500 shows in the UK and Europe with the London based band Heat From a DeadStar (2004 to 2009). HFADS was the first non-US act to sign a record deal with the Boston-based label Ace of Hearts Records (owned by Rick Harte, producer of Mission of Burma, Lyres, The Infliktors, etc). The trio released its first album ‘Seven Rays of The Sun’ in 2008. This album has been described as “abrasive, catchy, post-Wire post-punk” and “a Burma-esque adrenalin rush of banging drums, rumble bass and slashing guitars” (Big Take Over Magazine, USA).
JOHN 3:16 was started in 2007, as a studio-only project but after HFADS disbanded in 2010, JOHN 3:16 became the official live act of Philippe Gerber. The 5-track EP ‘Sinners in the Hands of an Angry God’ (2011) was critically acclaimed and presented the JOHN 3:16’s newly musical direction “synthesizing many different styles and genres such as those designed as psychedelic-electronic analog circuit no-wave, industrial, ambient, shoegaze, pop, trip-hop...” (Terapija Webzine, Croatia).
‘Visions of the Hereafter - Visions of Heaven, Hell and Purgatory’ is the first full length of JOHN 3:16 and is to be released via Alrealon Musique on October 22, 2012. The nine tracks were recorded at the Alrealon Studio/Laboratory(76). Carolyn O’Neill (Director of the Logan Square New Music Ensemble) co-wrote the track ‘Abyss of Hell/Clouds of Fire’ and William Schaff (Okkervil River, Songs: Ohia, Godspeed You! Black Emperor...) designed the original artwork." [label inofo]
www.alrealonmusique.com
|
2012 |
€13.00 |
|
| JULIUS, ROLF |
Für einen kleinen See |
CD |
Very carefully created Drone / Microsound-album from this german sound-artist, who combines his beautiful acoustics (mainly derived from field recordings) with "the gaze" of colours, objects, etc. - for many of his exhibited sound-sculptures the visual quality plays an important role too. For example, colours can fill in the gaps of a musical composition. So he also creates pieces for certain "objects" of the nature, like a small lake or a certain landscape. The music consists of drones and tiny bits & pieces of sound....
"Rolf Julius' works are always catalyzers for increasing attention to the things surrounding us. This has secured Julius an unmistakable place in the spectrum of contemporary art. He for himself is more influenced by people like Wittgenstein or John Cage...In a world meanwhile overflowing with artworks in energetic brush strokes and equipment playing fortissimo, his works murmur visually and acoustically as if they had always been present. The small sounds can originate in musical instruments, they can be natural sounds, and Julius often works with simple things such as buzzers. For Julius music is everywhere. It isn't important which sound-producing devices he uses. Julius often uses them in contradiction to the normal method..." [label info]
|
2003 |
€14.50 |
|
| JUNZO, SUZUKI |
Awake in the Wuthering Heights |
CD-R |
"New album by Suzuki Junzo, from famous japanese underground act MIMINOKOTO! factory-replicated CDr and printed artwork, limited to 100 copies only!" [label info]
www.licht-ung.de
|
2013 |
€10.00 |
|
| KA-SPEL, EDWARD & MOTION KAPTURE |
Anagramma |
LP |
This Is second Album of Edward Ka-spel with Motion Kapture. Psychedelic electronic music with ambient elements and old synthetizer sounds with the great voice of Edward Ka-spel (legendary pink dots).
A conceptual Voyage through Space Kraut rock and meditative ambient atmospheres in extended visionary ballads For sure one the best album of The Year .
Edward Kapsel : Voice, Effects, Noise
MOTION KAPTURE : Stefano Rossello : Mellotron, Guitars, Deep Mind 12, Juno 106, Z1, DX7, Rd8, Solina, Pro1, Effects. Filippo Corradin : Prophet 08, Bass, Continuum Fingerboard, Virus Polar, Waldorf Q, Noise, Pro1, Effects.
Recorded at : Furnace Studio Legnago (Verona)
O. M. Studio Agna (Padova)
Mixed & Mastered by Justin Bennett at Studio 23 Bologna
Artwork by Stefano Rossello
Videos by Filippo Corradin
https://rustblade.bandcamp.com/album/anagramma
|
2022 |
€30.00 |
|
| |
Anagramma |
CD |
This Is second Album of Edward Ka-spel with Motion Kapture. Psychedelic electronic music with ambient elements and old synthetizer sounds with the great voice of Edward Ka-spel (legendary pink dots).
A conceptual Voyage through Space Kraut rock and meditative ambient atmospheres in extended visionary ballads For sure one the best album of The Year .
Edward Kapsel : Voice, Effects, Noise
MOTION KAPTURE : Stefano Rossello : Mellotron, Guitars, Deep Mind 12, Juno 106, Z1, DX7, Rd8, Solina, Pro1, Effects. Filippo Corradin : Prophet 08, Bass, Continuum Fingerboard, Virus Polar, Waldorf Q, Noise, Pro1, Effects.
Recorded at : Furnace Studio Legnago (Verona)
O. M. Studio Agna (Padova)
Mixed & Mastered by Justin Bennett at Studio 23 Bologna
Artwork by Stefano Rossello
Videos by Filippo Corradin
https://rustblade.bandcamp.com/album/anagramma
|
2022 |
€14.50 |
|
| KASSEL JAEGER |
Toxic Cosmopolitanism |
LP |
"Mastered at 116 Bunker, Paris, October 2013. Design by Stephen O'Malley. Artwork by Cameron Jamie. Kassel Jaeger is a swiss-french artist based in Paris, France, and is a member of the GRM (Groupe de Recherches Musicales). 'Toxic Cosmopolitanism' is his second full length release for Editions Mego. A release which explores and questions the very nature of the material experiments contained within. Each side consists of two clearly defined sections based on the same material. Side A comprises of 'Toxic Cosmopolitanism', a large scale work based on distinct sounds of different cultures, instruments such as the balafon, tremolo, gnbri, gee, tibetan gongs, pan flutes and the like are all deployed but rendered of the sonic properties identifying them to a specific region. The question that lies at the heart of this experiment: Is such a swirl a creative process or a destructive one ? This is the ambiguity of toxic cosmopolitanism. Exposure Scales 1-4 use sounds exclusively derived from the Toxic Cosmopolitanism material. Whereas TC is more about subjecting sounds to structure, Exposure Scales builds almost static textures. The results are an honest exploration of both culture and form. At once cerebral, enlightening and immensely rich in scope and sonic vision." [label info]
|
2014 |
€20.00 |
|
| KELLOUGH, BETHAN |
Aven |
CD |
Artwork & photography by Jon Wozencroft. Mastered by Denis Blackham.
Live at Volume, Los Angeles, 30th April 2016 as part of Touch Conference.
The word ‘Aven’ refers to an underground shaft that leads upward from the roof of a cave passage.
Recorded with SoundField SPS200 & JrF C-Series contact microphones, Sennheiser ME64, Sound Devices 788T, Elektron Monomachine, RME Fireface UCX, and Cockos Reaper. Field recordings from Iceland, June 2015 and South Africa, November 2015.
Strings performed by Bethan Kellough.
Bethan Kellough creates sound worlds that weave together instrumental materials, sound design and ambisonic field recordings. Her composition ‘Aven' is based on a recording made in Iceland in 2015, which features the booming sound of underground geothermal activity escaping to the surface through a small shaft. “Looking down into the darkness, there was a sense that a whole world existed in an unknown space beneath. The sound world of Aven is a journey through such an imagined environment.” The composition is driven by this sonic encounter, but enters the imagined worlds beneath through the instrumental material developed throughout the work. These melodic passages predominantly feature violin, which Bethan has played since childhood exploring traditional Scottish music, rock violin, free improvisation and classical studies. The field recordings used in Aven were made in Iceland during the Wildeye sound recording workshop with Chris Watson and Jez Riley French, and in South Africa during the Sonic Mmabolela residency with Francisco Lopez and James Webb. Each of the recordings explore a world of sound beneath a surface, reflecting upon the initial recording environment at the geothermal site. In South Africa, an approaching storm was heralded by wind blowing through bushes in the savanna, underneath which was hidden a Soundfield microphone. A contact microphone on a fence in South Iceland revealed the tones of the wind contained inside the wires, and in an Icelandic nature reserve the wind was also captured by microphones buried underneath a layer of grass – a miniature world sheltered by the strands of dry straw.
Bethan Kellough (formerly Bethan Parkes) is a sound artist and composer. Her work spans across ambisonic composition, field recording, sound design and multichannel sound installation practices, drawing a focus on sonic spatial experience. Her works are designed to open out spaces with sound, exploring spatial aesthetics and the interactions between sonically and visually articulated spaces. The immersive sound-worlds she creates inhabit the boundaries between music and sound design, weaving together instrumental materials, sound design and ambisonic field recordings.
www.touchmusic.org.uk
|
2016 |
€11.00 |
|
| KEMIALLISET YSTÄVÄT |
Alkuhärkä |
LP + 7inch |
In der Version mit 7" soll es nur 150 Stück geben, das neue Werk der finnischen Geräusch-Folker, mit ihrem dadaistisch kreatürlichen Chaos-Primitivism Drone-Psych.. (oh was für ein Wortgebilde, die Musik scheint zu wirken..)
"One of our favorite slabs of freaky Finnish forest folk, now available on lp!! Pressed on thick vinyl in a deluxe jacket with a printed inner sleeve and all new artwork! The 18 tracks found here are a riotous festival of Finnish folk-psych. A pagan parade in a forest glade. Abstract, druggy, dark, delightful... We're always entranced by Kemialliset Ystavat's damaged improv folk mystery, and Alkuharka is yet another reason for us to keep saving our pennies in order to afford a trip to Finland (lucky Andee's been there once already). Anyone into anything along the lines of Tower Recordings, Thuja, Trad Gras Och Stenar, Six Organs Of Admittance, the whole Broken Face 'zine scene (to whom Kemialliset mainman Jan Anderzen used to contribute much art) will want/need this. Horns flutes guitars drones bells tapes voices feedback.
Wheezing buzzing bliss. With contributions from honorary Finns Dylan Nyoukis (Prick Decay) and Campbell Kneale (Birchville Cat Motel), Jan
and company are the true underground krautrock heirs, making music so long haired that it's furrier than any Animal Collective. Music from
the soundtrack to The Wickermoomin, perhaps?" [Aquarius Records]
|
2007 |
€25.00 |
|
| KHOST |
Buried Steel |
CD |
The brand new album Birmingham industrial doom metal duo Andy Swan (FINAL, IROHA) & Damian Bennett (TECHNO ANIMAL, CARTHAGE), feat Stephen Mallinder (CABARET VOLTAIRE, WRANGLER), Eugene Robinson (OXBOW) and more… ‘Buried Steel’ is the fourth album from KHOST, following the 2017 release ‘Governance’.
Themes and sonics of ‘Buried Steel’ range from granite and impassive to dreamlike and somnambulistic, in keeping with the promise – and threat – of the title, dwelling on slow, infallible ruination: a gravitational downthrust upon misshapen monuments and structures which are mangled, overgrown and increasingly forgotten. A monochrome landscape where nature reclaims and redefines us as time passes.
Recording of the album was marred with events such as an electrical fire which damaged some equipment. As a result, a number of tracks on the album had to be pieced together from damaged analogue elements such as reel to reel (Khost reel to reel RIP). From this point, the dynamic of some of the songs was altered, shifting their eventual outcome, particularly the tone of ambient work on Buried Steel.
Further guests on ‘Buried Steel’ include Syan, Manuel Liebeskind, Daniel Buess (16-17, MIR) and Stephen Ah Burroughs (TUNNELS OF AH, ex-HEAD OF DAVID).
CD in 6-panel digipak with artwork contributions from Talitha Bell, Syan and Craig Earp.
Videos:
Blood Gutters 6x4x1 - youtu.be/DbdxwVyaHYg
Night Air - youtu.be/32CXTKOIc3M
https://coldspring.bandcamp.com/album/buried-steel-csr278cd
|
2020 |
€13.00 |
|
| KINETIX |
Final Archives |
CD |
"The final chapter for this project run by Gianluca Becuzzi well know for his old dark wave project LIMBO but also for his solo works and collaborations with Fabio Orsi. FINAL ARCHIVES is a sort of collection of rare tracks recorded from 1999 to 2006 totally reworked and remastered in 2009. From booklet notes:
ABSOLUTE GREY is the title that Kinetix gave at his graphic artwork selection exhibited with an ambient post-scoring specifically composed for the expositive space. The exhibition is made of ten grey scale serigraphies on white forex scheets (1 meter x 1 meter) and a composition of 20 minutes played through two lour speakers and one woofer covered with grey powder on top of a white cube. Absolute Grey is been presented at the sound art festival PX2_Piombino_eXperimenta_2006. RW MATERIALS is a collection of seven short tracks from the early Kinetix production. Noise gestaltmusic. A multidimensional concept created with sound layers and ambient concretism. These tracks help to the listener to understand the start point of the Kinetix sound research.
RESOUNDING SULPTURES is based on the concept of “composition for blocks of sound” made in 50’s and 60’s by Iannis Xenakis. For this reason traditional compositional criteria (harmonic-melodic / rhythmic-metric) will replace the various criteria of plastic / spatial forms. Part of the sound sources used for Resounding Sculptures were extracted from the works of Iannis Xenakis to whom this composition is dedicated." [label info]
www.silentes.net
"We land in more 'current' times with the release of 'Final Archives' by Kinetix. The first time I reviewed Kinetix it was a release called 'First Emissions' (see Vital Weekly 339). Gianluca Becuzzi was behind Kinetix, before starting to work under his own name. These pieces on 'Final Archives' (his final release as Kinetix I assume) is a collection of rare tracks recorded from 1999 to 2006, and were previously available on CDR and MP3. The music by Kinetix has nothing to do with the previous three releases, as this is all computer based microsounding music. Over the years I heard various of his releases with 'White Rooms' as a definitely landmark in his career (see Vital Weekly 503). These pieces presented here, the early days, Becuzzi was on the look out for his own take on that microsound principle, but didn't entirely made up his mind yet. Pan Sonic seems to be an all important influence on the middle work 'Rw Materials', with heavy beats, white static noise and field recordings, but in the two surrounding pieces, 'Absolute Grey' and 'Resounding Sculptures', he is already drawn towards say someone like Richard Chartier or Marc Behrens, although the latter piece is influenced by Xenakis, and its not difficult to draw a parallel to 'Persepolis': large chunks of sound and sheets of metal. 'Absolute Grey' is the most Chartier like, with soft static sounds and processed voice. This is not the final masterwork of Becuzzi, but it marks the nice end of someone who did some nice music under the name of Kinetix." [FdW/Vital Weekly]
|
2010 |
€12.50 |
|
| KIRCHENKAMPF |
The first circle |
CD-R |
Last copies of this early KIRCHENKAMPF-release!
"Massive ambience. Though the release has only six tracks, it's every bit a full-length release checking in at just under an hour. The ambience portrayed here could be perceived as beautiful by many, but I find it more metallic, not harsh, but metallic. Imagine walking through the guts of a really big machine that digests metal as opposed to organic materials. It's the soundtrack to a very dark day. This record is recommended for those who just need some time to think about things. The artwork on this first edition is astounding. The handpainted, cracking green and black jewel box perfectly captures the mood."
[J. Mundok, AUTOreverse #11]
|
1995 |
€9.00 |
|
| 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 |
|
| KLEISTWAHR |
Mobility |
LP (single-sided) |
Limited edition reissue of this cassette originally released in 1983 on Broken Flag, gathering five untitled solo pieces by Gary Mundy of Ramleh in full on early power electronics mode, firmly illustrating his place as one of the innovators of this genre yet likewise pushing this confrontational avant-garde sensibility somewhere entirely new. It is a sound that Kleistwahr has continued to explore and add new dimensions to ever since, but never completely untangles itself from this particular root. Raw and seemingly unrestrained, these pieces present a robust, white-hot sonic meltdown up there with the very best from this ultimately fertile period for music from the basement. They last around 17 minutes in total.
This release is packaged similarly to the vinyl reissues of the first two full-length Kleistwahr albums released by Harbinger Sound in 2011, 'Arsonicide' and 'Myth'. It is also being released the same time as the 'Do Not' reissue originally released on cassette in 1986.
##############
"Limited edition reissue of an ultra-rare Broken Flag cassette (BF27), by Gary Mundy of Ramleh's longstanding solo endeavour, originally released in 1983. Unavailable for over 30 years, this is a must-have record by all those with an interest in Ramleh and their offshoots, the Broken Flag archives or, more broadly, anything from this fertile period in noise / avant--garde music from the basement. Ltd x 300 copies with insert. Mastered by Sion Orgon. Artwork by Gary Mundy and Puppy38."
|
2022 |
€14.00 |
|
| 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 |
|
| KOJO, HITOSHI |
Lux Ova |
MC |
" "Lux Ova" is a compilation album of my old recordings in the middle 90's before my first release "To Fill Up All The Coeloms By Radiance" in 1998 (re-released as "Sacrifice + Phosphorus" under "Spiracle" pseudonym in 2000).
"To Fill Up All The Coeloms By Radiance" was made with a particular theme 'catastrophe sound action' and 'initiation' in relatively a short period in 1997.
However I had remembered that a lot of other solo recordings had been blindly made mostly on cassette tapes between a so-called band period until 1995 and the "sound action" period in 1997.
While digging up the mass of cassette tapes, I had discovered some blindly therefore free and honest recordings that contained fertile texture like a origin of the sea, and few of them already sounded like later works as Spiracle.
I gathered them first, and treated on a computer to unify the utterly disconnected feelings of each recording, then compiled them to an album, and brought them back to a cassette tape again for the release.
The original sounds seem to be produced by acoustic instruments and organic materials such as voices, flutes, guitars, metals, ceramics, wind, water. However they were all melted into a mass of textures and tones through various effectors, and had simmered in samplers and a multi track tape recorder until they became bright coloured thick fractal soup.
The artwork in the folded insert was taken from colour pencil drawings ‘birth of stars’ and ‘medium’ that had been also blindly made between 1998 and 1999." [label info]
www.omnimemento.com
|
2010 |
€9.50 |
|
| KOLLAPS |
Until the Day I die |
CD |
"Until The Day I Die" is the third album from Australian post-industrial outfit KOLLAPS.
"Until The Day I Die" is a merciless and visceral assault on the senses and continues the trajectory of the band's idiosyncratic approach in their creation of sound. The album showcases an uncompromising force of harsh post-industrial music narrated by overarching themes of condemnation and redemption; of violence, romanticism, sexuality, and addiction. Much of the creation and lyrical conceptualisation of the record has been stylised and presented using William S. Burroughs' cut-up method.
A wide variety of metals and raw materials were used in the creation of the album including metal grates, a rusted hoist, cement cylinders, field recordings, hammering of various decrepit objects, broken amplifiers, an exposed reverb tank, various synthesizers, and the infamous metal coil; a crudely self-constructed artifice that has become iconic in its use across KOLLAPS' triptych of releases and lengthy touring history in Europe, Australia, and New Zealand.
"Until The Day I Die" has had a tectonic shift in production methods compared to its predecessors and was entirely written, recorded, and mixed internally the self-constructed ILoveHeroin Studios built above a sculpture museum in Lugano, Switzerland. All instrumentation was handled by Wade Black except for bass guitar by Andrea Collaro recorded at Hangar 121 in Lenate Pozzollo, Italy on all tracks except "D-IX" and "I Believe In The Closed Fist," handled by Black, and additional sound design and percussion by Giorgio Salmoiraghi.
The album was mastered by James Plotkin and completed with cover artwork by Nullvoid (Thomas Ekelund | Trepaneringsritualen).
CD in 6-panel digipak || LP with full colour matt-laminate sleeve and printed inner lyric sleeve.
Written, recorded and mixed by Wade Black
Bass guitar by Andrea Collaro except “D-IX”, and “… Closed Fist”
Additional sound design and percussion by Giorgio Salmoiraghi
Mastered by James Plotkin
Recorded and mixed at ILoveHeroin Studios in Lugano, Switzerland
Bass recorded at Hangar 121 in Lonate Pozzollo, Italy and engineered collectively by Kollaps.
Artwork: Nullvoid (Thomas Ekelund)
#########################################
"Sometimes I go to a concert with minimal expectations. Once I decided to go to an unknown name, I didn't bother to investigate further; I just saw and be surprised. A few years ago, I decided to go to Kollaps, which I thought would be an Einsturende Neubauten-inspired thing, seeing they took the title of their first LP as a band name. I learned that they were from Australia and they used metal, synthesisers, maybe a bass and a singer. Oh, and a stack of amplifiers. I was pleasantly surprised that night. It was much louder than I anticipated (for no good reason). The group clearly found inspiration in SPK and Neubauten, but with a manic singer, screaming, shouting, pointing the microphone towards the amplifiers, generating feedback. There was great control among the various players, and I think they played songs and some mind-numbing barrage of noise. Back home, I shamefully admit, I didn't follow up on this concert, checking their work online. So, 'Until The Day I Die' is my first encounter with this group with studio recordings. I still enjoy what I hear and find some interesting musical nuances here. It is not a festival of feedback. Not that I expected this to be. There are quite a few of that, obviously, sitting next to banging on objects, screaming, but also a satire (I should think) of neo-folk in the title track. Complete with guitar and sad vocals, but drenched in reverb, leaning towards feedback. Some orchestral samples, mangled field recordings, and the military bang on the drums. Top-heavy music and filled with furious aggression. Not the dulcet tones of summer, but the sounds of a society collapsing in misery. I love it." [FdW / Vital Weekly]
|
2022 |
€13.00 |
|
| KOM |
Berry White |
CD |
"KOM are back with their first real full length. The new record BERRY WHITE doesn't change their opinion about music and how they want to reach people – but with these new 12 songs they maybe will get the attention of a wider audience they deserve. You still can't talk about 12 single songs because this record again just makes sense if you look at it as a whole piece of art. It's the homogeneity of artwork (handprinted cardboard sleeves for the cd version), lyrics, interludes and the real songs which makes the record unique and outstanding. They still write and play those little pieces of art far away from established genre clichés. You can call it a mixture of indie-rock, singer songwriter or postrock – but all of these bromides don't fit at all. They're very influenced by old 60's film music – but don't sound like that. They like to listen to ROBERT WYATT, HARMONIA or RADIOHEAD – but they don't copy them. They're just KOM – four guys from three cities in Germany who visit a small cottage in the woods every 2nd year to write a new refreshing record." [label info]
www.denovali.com
|
2010 |
€13.50 |
|
| 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 |
|
| KOPP, HERMANN / FUSILLER |
Les Naufrages |
LP |
"Best known for his scores to Jörg Buttgereit's cult films "Nekromantik", "Nekromantik 2", and "Der Todesking", this split vinyl (featuring with one with track with dark ambient artist Abattoir) sees German artist Hermann Kopp paired with Parisian electronic artist Fusiller (aka Jo Tanz). "Les Naufragés" ("The Shipwrecked") features geometric loops, dead melodies, synths, noise and vocals. Hermann Kopp started recording songs on tape in the 70's, combining his violin with a Moog imitation in a very personal and minimal approach to music, with lyrics that bordered on surrealism. In the mid-80's he became the fifth member of the experimental synthesizer band Keine Ahnung. Ltd x 200 copies with artwork by Piet du Congo."
https://ultimaratio1.bandcamp.com/album/les-naufrag-s
|
2020 |
€16.50 |
|
| KOUW, MATTHIJS |
The Great Image has no Form |
CD |
“The structure being so large, in order for an impression leading towards a possible overview, the participant, of necessity must encounter the limits of what they are able to hold in front of themselves. In doing so, a sort of ’stretching’ must take place, and with it, a kind of ‘friction’, which provides the energy necessary for Work, on a small scale.” - Andrew McKenzie
On this album, Matthijs Kouw presents pensive and melancholic drone-driven music driven by his long-time interest in Daoism and inspired by his visit to the Wudang mountains in China in 2007, where he studied Chinese meditation and martial arts.
Much like the Chinese landscape painting that provides the artwork for this release, the drones on The Great Image Has No Form slowly coalesce, evolve, and morph into metastable structures that linger on, only to slowly evaporate and dissolve into the undifferentiated.
Daoism teaches us that the foundational cannot be named and identified, but rather has to be experienced firsthand. This album is an invitation to the listener to dwell in this space of the unnamable and the mysterious, and to embrace it wholeheartedly.
https://escrec.bandcamp.com/album/the-great-image-has-no-form
--
Review by Peter van Cooten in Ambientblog:
Esc.rec. is a Dutch boutique label and platform for ‘adventurous music’. Its output is diverse, often with a strong relation to art projects, and – indeed – the best way to describe it is ‘adventurous’. Though some of their releases could be defined as ambient music, most are more ‘adventurous’ (duh) than that – ‘experimental’ is a better description. Which is why you’ll only find a small fragment of their output mentioned here. Which obviously does nót mean the other releases are not worth checking out too!
Matthijs Kouw‘s The Great Image Has No Form may very well be their most minimal ambient release to date. Kouw is a Dutch experimental musician ‘exploring the relationship between movement and stasis – combining long-form drone with elements from acousmatic music, noise and microsound’. He does so on his solo work (often as MVK), but he also explores extreme minimalist drones in collaboration with Radboud Mens.
The Great Image Has No Form was inspired by Kouw‘s visit to the Wudang Mountains in China in 2007, where he studied Chinese meditation and martial arts as a result of his long-time interest in Daoism. “Daoism teaches us that the foundational cannot be named and identified, but rather has to be experienced firsthand”. This is perfectly captured by the five pieces on this album, ranging between 5 and 17 minutes, dwelling in the unnamed space of complex drones – the kind of sounds for which you need a certain detached state of mind to fully appreciate them.
It is ‘minimalist’ music, but these are nót minimalist drones: there’s a lot happening in the deceptively static sound field which is constantly moving and shifting. “The drones slowly coalesce, evolve, and morph into metastable structures that linger on, only to slowly evaporate and dissolve into the undifferentiated.”
The album comes in a stunningly beautiful foldout sleeve with artwork by Xia Gui, a Chinese landscape painter of the Song Dynasty who lived from 1195-1224. The beauty of this image is somewhat contradictory to the album title… The Tao that can be named is not the real Tao. Interesting enough to reflect upon while listening to Matthijs Kouw‘s sonification of the principles of Daoism.
https://clinamen.bandcamp.com/album/the-great-image-has-no-form |
2019 |
€14.00 |
|
| KOUW, MATTHIJS & GAGI PETROVIC |
Recalcitrance |
do-CD |
After their track on the Moving Music compilation, 'Recalcitrance' is the second collaboration and first full-length release by Matthijs Kouw & Gagi Petrovic. This album will be released as Double CD and digital on April 16th, 2021.
"Philosopher of science Isabelle Stengers has studied the operations of states and their mobilization of technical practices to serve a presupposed general interest, which involves the production of rules and norms. Such rules and norms are blind to forms of knowledge that are denigrated as ‘local’ and ‘traditional’, and feature the correlative elimination of what does not conform and cannot be standardized – in other words, what is recalcitrant to objective evaluation. Anything that resists subsumption to technical rationality is seen as a threat to public order (Isabelle Stengers, In Catastrophic Times: Resisting the Coming Barbarism, pp.73-4).
The eight tracks on ‘Recalcitrance’ examine abstract topics that range from metaphysical speculation and psychological investigation to reflections on the process of creation itself. Taking a shared set of source sounds as their starting point, Matthijs Kouw and Gagi Petrovic invite listeners to trace the common sources of their pieces and to become recalcitrant themselves by experiencing the compositions in ways that defy what Stengers describes as technical rationality. 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.
The album comes in beautiful artwork by Zeno van den Broek and Rutger Zuydervelt and is mastered by Jos Smolders.
https://gagi-petrovic.bandcamp.com/album/recalcitrance?label=13328016&tab=music
|
2021 |
€15.50 |
|
| KRCFHL |
same |
do-CD |
The KRCFHL recording was made on September 28, 2005 by three well-known Russian sound experimentalists M.M. (Kryptogen Rundfunk), Evgeniy Voronovskiy (Cisfinitum) and Nikolay Kalmykov (Hladna). The musicians gathered in Evgeniy’s home studio in Moscow, spontaneously played and recorded this psychedelic set. The recording remained unknown to the public for 16 years, but worked as a fail-safe therapy for the kultFRONT label during all these years.
KRCFHL is a smooth immersion in the pulsating world of analogue synthesizers, embellished with the sounds of violin that does not sound like itself. Prior to this recording, the musicians performed several times on the same stages, either at post-industrial music festivals (a joint photo in the album’s artwork was taken on the Thalamus II fest, which happened in Pskov in May 2005), or in collaboration sets. After this recording, they didn’t practice any joint immersions, but the musicians worked on releasing other recordings.
In 2021 the recording became a double album thanks to four tracks from KRCFHL colleagues from the next generation of Russian sound experimentalists. Friends reimagined the recording from 2005, each in their own recognizable way. The first track was made by the project NOTUM, which was born in St. Petersburg, but is now developing in Berlin. The second remix was recorded by Xenia Lotus (Drone Liberation Front, a collaboration project with Tim Six) under the guise of her solo project BEZVLASTJE. The third rework was done by “the noise queen” Sveta Svetlo, aka SVETLO111. And the second disc (or side B on the cassette) is wrapped up by Ilya SYMPHOCAT.
The album artwork features photographs of an old wall in the vicinity of the Smolniy Convent in St. Petersburg. The place with the KRCFHL inscriptions has already become a point of attraction for pilgrims.
The album is released on 50 compact cassettes with a total length of 85 minutes. Additionally, the album is available on 200 double CDs.
KRCFHL is clear proof of how music and its magic only becomes more interesting over the years.
credits
released December 29, 2021
KRCFHL (parts I & II) recorded live by M.M. (KRYPTOGEN RUNDFUNK), Evgeniy Voronovskiy (CISFINITUM), Nikolay Kalmykov (HLADNA) on September 28th, 2005 at Evgeniy’s home studio, Moscow
~ kryptogen.bandcamp.com
~ cisfinitum.bandcamp.com
~ hladna.bandcamp.com
KRCFHL (NOTUM remix) recorded by Ikk Ygg in October 2021, Berlin
~ notumschaltung.com
KRCFHL (BEZVLASTJE remix) recorded by Xenia Lotus on November 25, 2021, St. Petersburg
~ soundcloud.com/bezvlastje
KRCFHL (SVETLO111 remix) recorded by Sveta Svetlo in October 2021, St. Petersburg
~ soundcloud.com/svetlo111
KRCFHL (SYMPHOCAT remix) recorded by Ilia Symphocat in October-November 2021, St. Petersburg
~ symphocat.com
Mastered by M.M. & ArSch
Photos by kultFRONT, Luiza Arroz, @cht00000, Vera Bezrukova
Design by kultFRONT
Co-released with ZHELEZOBETON Distribution Division: zhbd.bandcamp.com
https://kultfront.bandcamp.com/album/krcfhl
|
2022 |
€16.00 |
|
| KRENG |
Selfed (SOLD OUT) |
do-10inch |
"Starting with soundtracks for the Belgian theatre-company 'Abbatoir Fermé' in 2007, PEPIJN CAUDRON aka KRENG has since then created an impressive catalogue of work, submerging deeply into a cinematic musical world, often built on 'classic' instrumental sounds, expressing a fascination for "the secrets of our culture, the roots of our collective fears and the hidden wounds, phantasies and rituals of our time" (as 'Abbatoir Fermé' denotes their own programmation). KRENGs compositions share a rare intensity and originality, immersing the listener into gloomy and surealistic atmospheres. SELFED is a work for a dance choreography by KEVIN TRAPPENIERS, a piece for a single dancer that relates to the phenomenon of 'Self-Pollination' in Biology. SELFED is seen as a metaphor to overcome mental and physical barriers of the self and society, by "investigating the notion of the energy of self and self-sacrifice". The three pieces suck you in with their spiraling sounds from the very first minute, ending in an early claustrophobic climax, from which structure and beauty is
regained ... An interplay of circling dynamics.
This 2 x10" vinyl (45 rpm) comes in a full colour double-gatefold cover, each record pressed in a different colour (blue-black / red-black), the fourth side contains an etching of all credit information. First ed. of 498 copies. Artwork design by TILMANN BENNINGHAUS. Mastering: PETER ANDERSSON." [press release]
Words by the director about the concept of SELFED: "In botany, selfing causes an animal or plant to breed with or fertilise one of the same hybrid origin or strain, thus causing the organism to self-pollinate or self-fertilise. The cover pictures refer to ultrasonic pictures of a self-replicating cyberpunk/biopunk unborn being in its early stage, to repetitive oscillator sounds and cyclic lifeforms.
In SELFED, the performance, as well as the score and the sound design, explore methods to adapt the body to mental and physical barriers and how to overcome those obstacles or gain control over them. The dance performance incorporates both the philosophy and techniques of Parkour within contemporary dance. We investigate the notion of the energy of self and self-sacrifice. The self meant as an aid and a tool for introspection and reflexion, for demolition and construct of the borders of the self - of the body and the mind. Accordingly, the performance and music reflects on the positioning of mankind towards individual and social power structures." [KEVIN TRAPPENIERS]
(In 2014, Kevin Trappeniers was artist in residence TAKT Dommelhof (BE) to create the dance performance SELFED, that premiered at Plesni Teater Ljubljana (Slovenia). After this choreographic debut, which consisted of an outside and an inside part made for the specific locations in Slovenia, Trappeniers reworked the inside part to physical theatre.)
credits:
selfed
concept, direction, choreography, scenography: Kevin Trappeniers
dance & performance: Dagmar Dachauer
music & sound design: Kreng
light design: Laurence Halloy, Kevin Trappeniers
in collaboration with: Luka Avguštin, Enej Progar, Jan Ulčar, Sebastjan Zupanc (SloMotion, Slovenian Parkour Family)
dramaturgy & mentorship: Andreja Kopač
coaching & distribution advice: Vincent Company
producer: Živa Brecelj
production: Plesni Teater Ljubljana (SI) - Choreographic Debut PTL 2014
co-production: TAKT Dommelhof (Neerpelt, BE)
in collaboration with: Muzej in Galerije Mesta Ljubljane (MGML)
artwork & photography: Kevin Trappeniers
thanks to: Vincent Van den Bossche, Blaze Urban Academy (BE), Šolski Center Ljubljana (SI)
"Substantia Innominata est la 10ème Série de vinyles de Drone Records et a pour but de présenter des travaux inspirés par l’inconnu, autour de nous ou parmi nous.
Commençant avec les bandes sons pour la compagnie de théâtre belge \ Abattoir Fermé\ en 2007, Pepijn Caudron alias Kreng a depuis créé un impressionnant catalogue, plongeant profondément dans monde musical cinématique, souvent construit à partir de sons instrumentaux « classiques », exprimant une fascination pour \ les secrets de notre culture, les racines de nos peurs collectives et les blessures cachées, phantasmes et rituels de notre temps\ (comme \ Abattoir Fermé\ désigne leur propre programmation).
Les compositions de Kreng partagent une rare intensité et originalité, immergeant l’auditeur dans des atmosphères sombres et surréalistes. Des bruits de bateaux sous marins suggèrent en effet l’immersion inquiétante raclant, puis un saxo sirène orientale, et ça se calme en hélico dans un essai d’envol des flots, des résonances lointaines et un sonar ou celui d’un dauphin ou baleine construisent cet univers sonore immersif, un peu comme si on était pris dans un U-Boot.
Selfed est un travail pour une chorégraphie de danse de Kevin Trappeniers, une pièce pour danseur seul relatant le phénomène de \ Pollinisation Atomatique\ en Biologie. Selfed est à voir comme une métaphore les barrières physiques et mentales de soi et de la société, en \ investissant la notion d’énergie propre et de sacrifice de soi\ . Les trois pièces vous sucent par leurs sons en spirale dès la première minute, se terminant dans un climat de début de claustrophobie, dans lequel beauté et structure sont retrouvés.... Une réciprocité de dynamiques circulaires.
On y entend des voix, puis des rythmes secs et rapides de peaux élastiques mixés avec des voix pour montrer cette Auto Pollinisation de musiques concrètes et électroniques par les voix. Comme dans la « Pollinisation Automatique », les éléments humains et industriels se mêlent et se confondent.
Ce vinyle 2 x10\ (45 rpm) est livré dans une pochette double-gatefold, chaque disque est pressé dans une couleur différente (bleur-noire / rouge-noire), le quatre titres contient une gravure première édition pressée 498 copies par Tilmann Benninghaus. Mastering - Peter Andersson. Sortie - Avril 2016" [translation by Flow / Le Bokal]
|
2016 |
€25.00 |
|
| KRENG + SVARTE GREINER |
The Night Hag |
CD |
Context is crucial. Quiet, flowing music full of space is usually associated with a state of tranquillity. It lowers the heart-rate and controls the breathing. It is only one of many ways in which music can have physical consequences. But once you decide to include an element of impending danger, or an unpredictable element, silence is no longer a refuge, but becomes an audible threat. The masters of suspense and terror, whether they are directors or composers, are fully aware of this: nothing scares you as much as an ominous silence that might be disrupted.
You can easily apply this to The Night Hag. Listen without any preconceptions (perhaps only possible if you didn’t read anything about this release, these notes included, in advance) and this slowly evolving composition suggests a wholesome listening experience, with organic transformations and glowing harmonies. At least, until halfway, when some eerier sounds pop up and a certain kind of unease reveals itself. So far, so good. Then I suggest you listen again, preferably with decent headphones, with the knowledge that The Night Hag was inspired by the concept of sleep paralysis.
This is a state that occurs while you find yourself in the transitional stage of waking up or falling asleep. You are fully conscious, but you can’t move. It has happened to both these musicians and to many other people. And it can be terrifying, as the physical impotence often comes with hallucinations (hence the title). Kreng’s harmonised piano sustain sounds that were run through Svarte Greiner’s miasmachine, are no longer abstract waves forming a patiently moving mass of sound, but ingredients of a minimalist mini-symphony of terror, the few discernible piano touches almost functioning as hypnic jerks sucking you towards the void.
Just lie down for a second and try to imagine you are able to hear, see and smell, but you can’t speak or move. Your body becomes a prison, a padded cell. It is the ultimate personal lockdown scenario. For The Night Hag, it turns a vague disquiet into a 33-minute nightmare that is as subtle as it is paralysing. Or, as a true sonic adventurer might exclaim: “Sleep well. In hell.”
Good night.
Guy Peters
Album name: The Night Hag
Artist: Kreng + Svarte Greiner
Catalog number: Slaapwel xvi
Edition: 300 copies
Music by Kreng + Svarte Greiner
Kreng: piano
Svarte Greiner: miasmachine
Artwork: Christopher Michael Hefner
Design: ORDNER
Mastering: Ian Hawgood
Liner notes: Guy Peters
https://slaapwel.bandcamp.com
|
2021 |
€15.00 |
|
| KRYPTOGEN RUNDFUNK |
Elusive Trajectories 2003-2006 |
CD |
"The series of archive recordings "Znaki / Die Zeichen" continues! The labels kultFRONT and ZHELEZOBETON present its fourth installment – the collection of compositions of the St. Petersburg-based noise project Kryptogen Rundfunk, recorded in 2003-2006. Most of these tracks were released on small-edition compilations of the same time, but some of them remained unpublished until now.
This album offers a fresh look at the early period of Kryptogen Rundfunk’s sound in all its diversity. Sharp injections of digital glitches are polished by dense electronic drone and radio noises, raw sound of Soviet analogue synthesizers pervades the space with low-frequency vibrations, drum machines rumble in a slow industrial dance with a sampler used instead of a vocalist... The textures of the tracks vary from dark abstract drone ambient to edgy dashing noise, sometimes passing the stage of funny delusional rhythmic sketches. Each composition here is a separate short story, from a 12-minute immersion into the depths of radio waves on a psychedelic submarine to a 1-second collage made of several found sounds.
Traditionally for the "Znaki" series the artwork was created by the media artist Oleg Paschenko (humanimalien.ru). Based on the cover design, a small edition of Kryptogen Rundfunk’s t-shirts has also been printed. The t-shirts are made of premium quality “penye” fabric and are available in all sizes between XS and XXL."
|
2019 |
€13.00 |
|
| |
Tales from the Mirrored Spaces |
do-CD |
Developing his sound from previous works, on this album Kryptogen Rundfunk uses more acoustic instruments (mouth harp, bowed guitar, metal plate, singing bowl, voice), yet stays true to his favourite array of synthesizers, effect units and of course his trademark shortwave radio noises and transmission interceptions. With all this set-up he creates a dynamic sonic universe varying from ritualistic ambiental textures to heavy electronics, abstract multi-layered drones and sharp gritty noises.
The release is presented in two versions: standard single CD edition (ltd. 200) in a 4-panel ecopak and special double CD edition (ltd. 100) with a recording of a live gig based on the same material and played in Gdansk in November 2017. Both versions contain beautiful artwork by the St. Petersburg-based graphic artist Kirill Rozhkov.
https://zoharum.bandcamp.com/album/tales-from-the-mirrored-spaces
|
2019 |
€19.50 |
|
| 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 |
|
| KSHATRIY |
Slepok Soznaniya |
CD |
"The project Kshatriy appeared on the Russian post-industrial scene in 2004 and up to present has participated in several compilations, as well as released some solo and collaboration recordings on limited edition CDRs. Muzyka Voln presents the project’s first "professional" compact disk with the album "Slepok Sonzaniya" (meaning "a mould of consciousness" in Russian).
This work is based on the concept of consciousness of a warrior, a galactic warrior of light, bringing to world pure knowledge, infinite silence, perfect balance, a moment of power and might, a flight of freedom, love, serenity, joy, light, unified time, eternal life, simplicity and bliss.
The music of the project can be described as fractal dark drone ambient with lots of patterns, woven from various sonic fibres: synthesized drones, processed field recordings, acoustic echoes and rhythmic loops. Calm and profound, filled with resilience and hidden power, like an endless ocean of tranquility, energy and beauty." [label info]
http://zhb.radionoise.ru/
"Kshatriy is the project by musician from Vsevolozhsk not far from St. Petersburg. Earlier his records were released on CDr, and album Slepok Soznaniya became the first work released on CD, before it I didn't know anything about this creative unit. With his music Kshatriy creates space dark and dull as well as beautiful and interesting. In anxiously boiling sound lava there merge deep electronic drone, processed field records and also unobtrusive hissing, crack and other noise effects. Musician himself writes that his creativity "is based on the conception of warrior consciousness... galaxy warrior of light, bringing to the world clear consciousness, unlimited silence, absolute balance, a moment of force and power, a flight of freedom, love, serenity, gladness, light, common time, eternal life, simplicity and bliss...". These words sound as nothing else but an unequivocal hint at trips "inside yourself" and the state of trans provoked by music. And it is so.
Slepok Soznaniya is a huge mental reactor with boiling up fragments of dark recollections, fused and crumpled into one heavy lump which dissolved all around in impenetrable swamp of its body. Rusty, smelling with dust and dampness postindustrial spirit spreads together with these sounds to colossal spaces around. Huge volume of theses spaces is one of the main special features of this music ruining all barriers inside the dark universe, and Slepok Soznaniya became a ticket to it. You peer into the darkness and don't see any limits, as if you have fallen under ground and found an alternative cosmos there. Beautiful, charming and sometimes even epic sound design making you hold your breath in long intriguing moments and make your heart beat quickly with resounding rumble and voluminous, heavy drone. It's worth to be heard." [Pi Micron, The Sound Proector]
http://www.soundproector.com/?cat=reviews&id=259
"Heaving, psychonaut droning from this Russian project, Kshatriy. The name of Sergey Uak-Kib's project is actually Sanskrit, as a now deracinated caste of warriors from ancient India. Uak-Kib posits something of a balance between the spiritual and the physical in the beliefs for this class of enlightened fighters. The holistic fortitude found in that statement seems to be furthered in the glowingly psychedelic artwork that has graced some of Kshatriy's other recordings. So much for first impressions, as this is fucking bleak. Anenzephalia bleak. Thomas Koner bleak. Lustmord bleak. Thrumming drones of Vulcan intensity and Promethean scale gird the entire album of Slepok Soznaniya. The thunderous cracks that introduce "Lights" are cataclysmic in nature, tumbling from deep space and smashing into the Siberian forest, unleashing shockwaves across the curved surface of Russian's landmass and creating elegantly harmonic ripples across the swampy taiga. Iron wheels grind on long-train tracks which lead to destinations unknown on the "Hymn To Kali," which is more of a dirge than a hymn through the slow, militant pound and evolving reverberant chord shifts for an ashen, musical negativity. The almost self-evidently named "Space Travel" surfs the solar winds with echoes of distant pulsars and glowing nebula clouds flickering through the endless expanses of nothingness.
We were awestruck by the work that Kshatriy produced for the 2014 Drone-Mind / Mind-Drone III compilation; and so we're delving into his catalogue. Slepok Soznaniya was originally released in 2009 on the bracingly good Russian imprint Muzyka Voln. Not all that much in the way of distribution west of the former Iron Curtain; so this one makes for a new favorite in the radiant black dronemusik camp." [Aquarius Records]
|
2009 |
€13.00 |
|
| KUBISCH, CHRISTINA |
Five Electrical Walks |
CD |
"Christina Kubisch präsentiert mit »Five Electrical Walks« (Important Records) eine Musik, welche aus einem Fundus an Bestandteilen komponiert wurde, die sich zum einen praktisch selbst generieren. Abhängig sind sie zum anderen jedoch um so stärker vom neugierigen Empfinden der Menschen, die hier im Prozess der Klanggewinnung jeweils als Medium fungieren. Um elektromagnetische Felder hörbar zu machen, hat Kubisch bereits 1981 einen speziellen Kopfhörer entworfen, der hörbar macht, was sich den Sinneseindrücken üblicherweise vollkommen verschließt: Wer ihn auf den Ohren trägt, hört, was zweifellos da ist, aber was augenblicklich kein anderer mit seinen Sinnen erfasst.
Das Artwork zu den fünf Spaziergängen dieser Sorte wurde nun zum einen recht sachlich bis ansehnlich gehalten und zum anderen an manchen Rändern unscheinbar verziert von einigen der bemerkenswerten Zeichnungen, die Kubisch ebenfalls aus den elektromagnetischen Feldern gewinnt. Diesen haftet stets etwas sonderbar Geordnetes an, das sich in Reih und Glied auftürmt, um letztendlich doch nur eine vage, kantige Ahnung zu hinterlassen von dem, was sich in dieser durchdringenden Musik so geisterhaft und doch auch so förmig manifestiert. Die Klangskulpturen, die ihrerseits mal schlängeln, mal pulsieren, sind hierbei zu einigen Anteilen strikt ortsgebunden und beflügeln durch diesen individuellen Charakter die Sehnsucht nach einer eigenen Begegnung mit diesen Räumen und Plätzen, auf den Punkt gebracht durch die eigenen Worte von Kubisch zur Beschreibung von »Night Shift«, einer wunderbar finsteren Collage, die in verschiedenen Bahnhöfen und Flughäfen aufgenommen wurde: »What you see and what you hear seems to create a new, unknown reality.«
Man mag dieses Album als eine Dokumentation einer durch und durch künstlichen Addition zum menschlichen Wahrnehmungs-instrumentarium betrachten. Erfassen aber lässt es sich beispielhaft leicht und intuitiv: »Five Electrical Walks« ist ein wahrhaft inspirierendes Projekt, das den kindlich ungetrübten Synästheten in seiner Hörerschaft anspricht. Überhäuft wird man mit einer Vorstellungsverknüpfung nach der anderen, ohne jemals Kontrolle über das bunte, in einen zeitgemäßen Elektronik-Sound gekleidete Treiben zu erlangen: Die musikalischen Resultate, die sich durch einen sauber ausgearbeiteten Filter manifestieren, sind von einer zuweilen recht spröden, aufwühlenden Qualität, die dem Effekt der angesprochenen Grafiken recht deutlich entgegensteht. Ein noch größerer Kontrast im Rahmen einer Präsentation, die beide Ausdrucksweisen zu gleichen Teilen berücksichtigt, könnte die eindrucksvollsten Aspekte dieser Arbeit womöglich deutlich vertiefen." [Kai Ginkel / SPEX]
"Christina Kubisch is a first generation sound artist of the highest order. Kubisch has been working with electrical induction since the late seventies and in 2003 she began her Electrical Walk installations. Listeners wear specially built headphones that reveal electro-magnetic radiation emanating from the technological world around us. Five Electrical Walks is her first collection of compositions utilizing material recorded during Electrical Walks." [label info]
www.importantrecords.com
|
2007 |
€14.00 |
|
| |
La Ville Magnetique / The Magnetic City |
CD |
"24 Electromagnetic Walks in Poitiers. Produced at Studio Hoppegarten and Electronic Music Studio of the Technical University Berlin, October-November 2008. Liner notes and other info in French and English. The recordings of the 24 Electromagnetic Walks in Poitiers were made on August 14, 18 and 19 2008, using only Christina Kubisch's electromagnetic induction headphones and a portable recorder. The sounds have not been electronically modified. The only intervention was the use of a frequency filter. From the linernotes: Today there is a lot of interest in the musical world in 'mapping', the art of tracing the world we live in by means of maps which differ from those made for trade, commerce and business. The maps of the 24 Electromagnetic walks are visual and musical ones. 24 volunteers explored the hidden electromagnetic fields of Poitiers wearing a special headphone created by the artist. This wireless 'tool' captures and amplifies the magnetic fields above and underground the city. The visitors were free to choose their own, personal paths (itineraries) and were asked to draw them upon a map of the inner city. The length of the recordings vary between 6 and 79 minutes. Every recording is a kind of 'mirror' of the character and personality of the walker. Some people walked straight and without stopping through the streets, others often stopped and played around by moving their head (or body) when entering an interesting field, some followed the 'historical paths', others used the personal itineraries of their daily life, some just went by chance and took the exploration as a kind of acoustic adventure. The collection of 24 sound channels in Poiters is a collection of electromagnetic field recordings- an electromagnetic portrait of the city. Often what you can see normally and what you hear electromagnetically, is quite different: quiet streets burst out with strong electrical hums, the lively market place is quiet instead, the train station is a dense net of regular beats and clicks, the parking Carnot is the place where antennas fill the air with internet signals, the ATM machines of the banks hum musical chords and the security gates in the shopping streets surprise by their volume and intensity of continuous signals. The juxtaposition of the 24 itineraries was the starting point for he composition. Several times the visitors were at the same time at the same place, but exploring the sounds in different ways. The piece is a mix of all the recordings, sometimes letting them together in big clusters, sometimes following an individual walker along his way. The beginning and the end of the recordings was the tourist information center of Poitiers. The voices and the music which can be heard were recorded not with a microphone but as well through electromagnetic induction: a cable loop inside the office makes the sound audible as well outside the building. It's here, where the information of the historical city meets with the contemporary hidden electromagnetic world of Poitiers. The participants to the recorded walks: Jean-Pierre Courjaud, Quentin Debenest, Jean Hiernard, Daniel Clauzier, Emmanuelle Baud, Claude Thibault, Marion Berthier, Marie Fournier, Jean-Pierre Potier, Benoist Baillergeau, Jean-Luc Terradillos, Dominique Truco, Patrick Treguer, Jean-Christophe Desnoux, Dominique Pichon, Thomas Sillard, Marion Valière Loudiyi, Mélanie Ribot, Nicolas Bernard, Aurélien large, Marine Antony, Lilian Gerling, Anne Gérard, Christina Kubisch. Credits: Artwork By [Cover Design] - Christina Kubisch. Artwork By [Graphics] - Frederic Briand. Engineer, Mastered By - Eckehard Güther. Liner Notes - Christina Kubisch. Mixed By - Christina Kubisch. Photography - Christina Kubisch , Daniel Proux , Dominique Truco , Marion Valière-Loudiyi. Technician [Recording Assistance] - Marine Antony.' [full label info / liner notes]
|
2009 |
€15.00 |
|
| KUUPUU |
Lumen Thäden |
LP |
Das neue Album der Finnin KUUPUU erscheint auf dem renommierten TIME-LAG RECORDS, im übergrossen & laminierten Gatefold-Cover.
Ihr gespenstischer "low fi wyrd Folk" (das Label nennt das "Pränatal-Folk) erinnert an eine schräge Version von JESSICA BAILIFF oder GROUPER, ähnlich zerbrechlich ertönen ihr elfenhafter Gesang und die sparsame Instrumentierung, zusätzlich aber haftet dem ganzen etwas "schamanistisch-beschwörendes" an... really strange stoff !!
"Although Finlander Jonna Karanka has been slowly leaking out little Kuupuu jewels for six years now, somehow it's taken just that long to materialize her first 'proper' album. Maybe it has something to do with the time she's devoted to her beautiful artwork, or her time spent in a highly impressive string of other bands, including Hertta Lussu Assa (with Islaja and Lau Nau), Anaksimandos, Avarus, and many others. But, you know, I always figured Kuupuu music didn't have much to do with 'time' anyway. It's music from another reality, to put it bluntly. A beautiful place no doubt, but somehow totally other. You could call this music a lot of things, all without really saying much. Post-everything? Pre-birth folk? Bedtime acid-art? Naive avant-garde loop witchcraft? Maybe something like a thousand memories & vague images folded into each other and spooled out infinitely like a sloppy film loop. The sound of tiny bioluminescent insects systematically devouring an urban cityscape in hyper-speed, while just as quickly slithering neon flora entwine the metallic gray remains, only to then be gobbled themselves by a leaderless army of pulsating micro-robots. Got that? Now play backwards in slow motion. Surreal might just be an understatement. Packaged in a stunning ultra-heavy laminated full color gatefold cover with full color art labels, all created by Jonna. Pressed on audiophile 180gm vinyl. Limited edition of 750 copies." [label info]
"Kuupuu is a bit like a Finnish Grouper, her songs are murky and mysterious, the sounds feel disembodied and otherworldly, her vocals are ghostlike and gauzy, but those Grouper-like sounds are filtered through her Finnish folk filter, having spent time in Avarus, Anaksimandros and a handful of other big time aQ faves. Nearly half the record is made up of hushed intimate lo-fi ballads, muted and muddy and almost underwater sounding, her voice and musical accompaniment bleeding into each other until it's sometimes almost impossible to tell which is which, but those stretches of bleary eyed balladic drift and muffled shimmery dreamdrone are peppered with chucks of weird soft noise, abstract rhythmic workouts and some strange very Finnish sounding bursts of what-the-fuck chaos: plenty of clattery tribal percussion, detuned guitars, demented music box melodies, field recordings and found sounds, tape manipulation, gongs and bells and birdcalls, looped acoustic guitars, super lo-fi tape recorded voices, swooping backwards melodies, and the occasional jagged shard of feedback or streak of fractured crunch, but somehow Kuupuu manages to tie it all together into something much more cohesive and lovely than you might imagine.
Definitely for fans of all things Finnish and foresty and folky and freaky: Avarus, Islaja, Anaksimandros, Kemialliset Ystavat, Kiila, Shogun Kunitoki, Es, etc. And adventurous fans of Grouper might give this a try, if they're not averse to some weirdo noisemaking with their moody melancholia." [Aquarius Records]
www.time-lagrecords.com
|
2009 |
€23.50 |
|
| KUWAYAMA-KIJIMA |
01.05.10. |
CD |
Die beiden japanischen Streicher mit 5 live-Improvisationen auf Cello, Violine und Viola. Uneffektierte, hochabstrakte Klang.-Interaktionen von großer Dynamik und Expressivität.
“Kiyoharu Kuwayama (cello, violin) and Rina Kijima (violin, viola) have been creating rich, flowing live improvisations for some years. On previous efforts, they have recorded improvisational pieces under a highway interpass whereby the environmental sounds of the area are heard in the background of each piece. Much of this music is to be heard on the trente oiseaux, gg, and 20 City labels, to name a few. With this release, we hear a refinement of this sound as the improvisations found on this CD were recorded in the empty warehouse no.20. Gone are passing cars and other incidental sounds. This work gives us the chance to hear the beautiful interplay of these two gifted musicians that is flawlessly recorded and leaves no detail unheard or muffled. The CD is packaged between five beautiful double sided cards containing artwork from Kiyoharu that suggests alchemy and the melting of sound. An edition of 400.“ [press release]
|
2003 |
€10.00 |
|
| KÖNER, THOMAS |
Novaya Zemlya |
CD |
"The artwork includes an essay by Thierry Charollais, "Thomas Köner's Novaya Zemlya: towards a metaphysical geography"... "Of course we find the unique Koneresque glowing drones that we know from his previous works. But we will also be touched by an unrevealed, barely perceptible sense of melody and harmony that Köner gradually developed since Kaamos (1998) and Nuuk (2004)."
Novaya Zemlya (Russian: Но́вая Земля́; IPA: [ˈnovəjə zʲɪmˈlʲæ], lit. New Land), also known in Dutch as Nova Zembla and in Norwegian as Gåselandet (lit. the Goose Land), is an archipelago in the Arctic Ocean in the north of Russia and the extreme northeast of Europe, the easternmost point of Europe, lying at Cape Flissingsky on the northern island." [label info]
www.touchmusic.org.uk
|
2012 |
€14.50 |
|
| KÖRPERWELTEN |
Avatars of Rape and Rage |
CD |
Ein gemeinsames Projekt von NAVICON TORTURE TECHNOLOGIES und NORDVARGR welches mehrere Jahre in Arbeit war und die extremen Grenzgebiete von sexuellem Begehren & Ohnmacht, Sadismus & Perversion bis hin zur Todessehnsucht & Mord thematisiert. Pulsierende Noisescapes werden langsam aufgebaut und explodieren im richtigen Moment, unheimliche rasselnde, atmende Geräusche sind präsent sowie schleppende untergründige Pulses, Einsatz von gepeinigten Stimmen, Geschrei in einer Lärmwand, Sirenensounds, etc.. mit das Unheimlichste was es im Bereich "Industrial" in der letzten Zeit gab, das unangenehme Gefühl schleicht sich quasi von hinten an, da hier lange Spannungsbögen erzeugt werden. Es entsteht ein wahrer Trip in die Abgründe der menschlichen Seele, ein Album dass einen nicht kält lässt, das (in Verbindung mit der Artwork) tatsächlich noch schockieren kann, wie das Psychogramm eines Triebtäters, erdrückend intensiv!
"Having started the process way back in 2002, this collaborative project between Swedish powerhouse Nordvargr and US apocalyptic
industrialists Navicon Torture Technoloies finally sees the light (so to speak) in 2008, having been re-worked and re-structured as a
perilous 40 minute plunge into a black hole of sound. Waves of grim, doom filled atmospheric sludge crossbred with buzzing black drones,
grinding distortion, and a seething underbelly of rhythmic pulsations, ultimately delivering everything you might expect from these two acts. In 6 panel digipak, with extreme and controversial, Jonathan Canady (http://art.malsonus.com/) designed artwork sure to be banned if it falls into the wrong hands." [label notes]
www.malignantrecords.com
|
2008 |
€13.00 |
|
| LA STPO (La Société des Timides à la Parade des Oiseaux) |
Romanciel |
CD |
"At last, more than three years after the magnificent “L’ Empreinte” here is the new album from my favorite Society: “Romanciel“. The first impression concerns the artistic creativity of the group: it’s astonishing how high it has been maintained throughout an almost forty-year career. In fact, I can say it right away, “Romanciel” is one of the best albums of theirs, in the field of a discography that is filled with beautiful works. Then comes the great pleasure to find again all the elements that make their style unique, immediately recognizable and, at once, new and fresh every time: Pascal Godjikian‘s extraordinary expressiveness and vocal skills, JimB‘s sharp metallic electric guitar, Patrice Babin‘s stormy drums and delicate small percussions, Christophe Gautheur‘s versatile keyboards and Sébastien Desloges‘s bass and violin. Fascinating, as well, are the suggestions to which La Stpo‘s world refers: the artistic avant-garde of the twentieth century for instance (Dadaism, Surrealism, Expressionism) or some masters of modern music (King Crimson, Pere Ubu and David Thomas projects are the first names that come to me). The album opens with the twenty minute long “Roman“, and it is the violin of the latest arrival Desloges (he joined the group eleven years ago) that gives an important contribution to the atmosphere of unusual lightness of this first track. Along with it we have soft blows of flute and ethereal openings of keyboards. It reminds me of Kandinsky or Klee’s most abstract paintings. But lightness can easily evaporate and leave the place to gravity and harmony can become dissonance just like a clear sky can suddenly cloud over, tear with lighting and explode with thunder. La Stpo‘s songs are kind of like this, they are changing and surprising. Pascal Godjikian‘s lyrics, that often take inspiration from the dream world, are well suited to the music with their surrealistic, bizarre, non consequential features. They speak a language of their own. Actually, since the very beginning of the story, language has always been a reason of great interest for him, even of experimentation with the creation of neologisms and new ways of combining the letters together. The second track gives us a nice chance to approach a very special “Dictionnaire“.
“La Diminuée” has weird, theatrical tones alternating with tender sounds of twittering and magnificent lyrical breakthroughs. The mood changes drastically in the fourth and last song, “Rien qu’en Ciel“. It’s a twenty-four-minute performance, wonderful and frightening at the same time, that unveils a dramatic scenery, a kind of desperate cry while a higher and higher wall erases the sky. It’s a dark and haunting final but, despite of it, in the silence that follows the end of the music, a little smile finds its way and sweetens the lips and the soul of the listener. This is what happens in front of a work of art or a spectacle of nature. And this music is beautiful, imaginative and free just like a successful picture or like the flight of the birds that paint the sky with their wonderful parade." [Gabriele Carlini}
https://adnrecords.com/la-stpo-romanciel/
"Romanciel (DNN 032 C) beginnt mit ‘Roman‘ und endet mit ‘Rien qu’un Ciel‘, logisch, soweit bei LA STPO je etwas logisch ist. Zwischen die mit knapp 20 und 23 3⁄4 Min. mächtigen Flügel haben JimB – guitar, Patrice Babin – drums, Sébastien Desloges – bass & violin, Christophe Gautheur – keys & reeds und allen voran Pascal Godjikian zwei live schon bekannte Kabinettstückchen platziert: das a capella angestimmte meta-ykegiakische, meta-tidalikische ‘Dictionnaire‘ und ‘La Diminuee‘, das mit verkleinerter Nase die Schwarz-wurzel falsifiziert. Davor bringt Pascal Zeilen aus “Le Tueur Littéral“, einem Roman des Typs R, wie: On a paré tous les états de mort oder Enfin, les 16 décès aux joyeux abois.
Und stellt einen zuletzt vor eine höher und höher wachsende graue Mauer, Mauer, Mauer, die einem die Welt und den Himmel verstellt. Les pédales de la mort korrespondiert mit les états de mort. Aus Literatur werden Daten, Himmel gibt es nur noch auf Screens. JimBs Artwork lässt jedoch die farblose Sterilität eines Lochkartenlabors von Vögeln mit blauer Farbe bekleckern. Und von den ersten zitternden Geigenstrichen, von Pascals ersten irrwitzig artikulierten Sätzen an gibt da auch wieder die extraordinäre, im bad alchemystischen Sinn superlativste Musik ihr Kontra. Artrockistisch komplex, mit wieder Pascals unnachahmlichen Manierismen. Die phantastische Wortwahl und die theatralische, akrobatisch zwischen guttural und falsett springende Performanz suchen in ihrem surrealen, artaudesken Reiz, ihrer grotesken Komik einmal mehr ihresgleichen. Wie launig da wieder Babin mit Stabspiel klimpert oder übers Fell galoppiert, wie die Gitarre zuckt und Gift spuckt, der Kecak-Spaß, der vogelige Abbé Birdeen-Spleen bei ‘La Diminuee‘. Und schließlich das umflimmerte Pizzicato, die Violinrufe, das brachiale Mahl- und Basswerk, der Gitarrenexzess, die melancholischen Vibes, die ultimative, gegurgelte Glossolalie bei ‘…Ciel‘ als hochdramatisch karnevalsgrotesker Menschheitsdämmerung bis hin zu den finalen Paukenwirbeln und stechenden Pfiffen. Unfassbar stark!" [Rigobert Dittmann (Bad Alchemy 114)] |
2022 |
€13.00 |
|
| LAMI, GIOVANNI |
मेम वेर्म [mema verma] |
LP |
मेम वेर्म [mema verma] is the final step of a study about an indian shruti box G (low) tuned, mostly used without emitting any note (as in the first two tracks, [kīṭa gīta] and [sautāceta]), sampling and processing the breaths, whistles and noise produced by the reeds. The third track, [annīgā śūnyatā], is the only one in which the shruti is played in a more standard way, as well as its sound was recorded through a set of very old mid-range speakers, later sampled and processed.
मेम वेर्म [mema verma] is split into three tracks but the whole project is sort of a metamorphosis of the same idea, where the sound is, step by step/track by track, more rarefied, losing that concrete feeling in the beginning and turning into a drone in the last track.
The project is titled "mema verma" and every track title is related to Indian language in a sort of "grammelot", since these words don't exist in Hindi, Bengali or other territorial languages except for the first one [kīṭa gīta], which means "the insect's song" in Hindi; this reflects the same relationship which intercurs between the artist and the medium, so different from the traditional use of this instrument in its own country.
मेम वेर्म [mema verma], released on May 23rd by Kohlhaas, comes in a limited edition 12’’ LP, featuring the artwork by Dead Meat [www.deadmeat.it], hand screenprinted by CORPOC [corpoc.com].
Mastered by Giuseppe Ielasi.
https://kohlhaas.bandcamp.com/album/giovanni-lami-mema-verma
"The title of this LP is translated as 'Mema Verma' and printed in Indian on the cover (I assume it's Indian, actually). The music is by one Giovanni Lami, of whom I never heard before. He created three recordings with the shruti box, G (low) tuned, but in the first two pieces (both on the A-side) without actually playing it, but using samples of the breaths, whistles and noise produced by the reeds. The one piece on the other side sees the instrument being played, but also the sampled and processed sound coming from a very old-mid range speaker. That's what this record is about, so it seems. One could easily expect, perhaps, something along the lines of M. Behrens or R. Meelkop, but that is the not entirely the case here. The manipulations employed here by Lami aren't supposed to create a highly abstract piece of music, but to bring out the more musical elements in the sound material. He melts his recordings into a synthesizer like soundscape along with percussive rattle and perhaps some more acoustic rumbling. It may seem an odd pairing but it actually works pretty well here in these two pieces; both of them operate on a similar level that seems to make them siblings of each other. This is all more collage like, melting estranged elements together. The one piece on the B-side is a powerful drone piece, but works along similar lines as the two on the A-side, but perhaps a bit more traditionally drone. It's a beautiful piece, haunting and shimmering, moving around like a gentle, caged beast. It seems slightly distorted in places, which I am not sure is the actual pressing or part of the music, but throughout it's quite a nice piece too. Very nice mood music is to be found in this place." [FdW/Vital Weekly]
|
2013 |
€16.00 |
|
| |
Monumento Fiume |
LP |
In 2021, the Municipality of Cotignola, Ravenna invited sound artist and composer Giovanni Lami to participate in an artist residency as part of a broader project aiming to investigate the anthropic landscape of the local area.
The two-piece composition Monumento Fiume stems from the huge body of field recordings collected by Lami throughout his residency period, which is going to contribute to the soon-to-be Sound archive of Cotignola. As Massimiliano Fabbri points out in the liner notes, "Monumento Fiume" is an oxymoron: this may reflect the both static and dynamic ecology rendered in these two pieces almost entirely crossed by a constant, throbbing tension.
Recorded throughout Spring and Summer of 2021.
Mixed by Giovanni Lami.
Mastered by Giuseppe Ielasi.
Artwork and design by Clio Casadei.
Liner notes by Massimiliano Fabbri.
Edition of 300 copies.
The recordings used in this composition were collected in Cotignola, Ravenna as part of a nascent sound archive of the area. Monumento Fiume is a project funded by Comune di Cotignola and Regione Emilia-Romagna.
https://kohlhaas.bandcamp.com/album/monumento-fiume
"If you look at the record, the inner sleeve, you have difficulty figuring out what this is about; or even who made this record. Going on Kohlhaas' Bandcamp, you learn this is 'Monumento Fiume' by Giovanni Lami. His work was reviewed before in Vital Weekly, and he primarily works with field recordings and very specific concepts. The concept here is lost as the liner notes are in Italian, and Bandcamp doesn't provide a translation. The basic idea is that Lami was invited by the Municipality of Cotignola, "Ravenna, for "an artist residency as part of a broader project aiming to investigate the anthropic landscape of the local area". To that end, Lami collected a lot of field recordings, "which is going to contribute to the soon-to-be Sound archive of Cotignola". According to Bandcamp, "Massimiliano Fabbri points out in the liner notes, "Monumento Fiume" is an oxymoron: this may reflect both static and dynamic ecology rendered in these two pieces almost entirely crossed by a constant, throbbing
tension". Google translates 'Monumento Fiume' as 'Monument River'. I am sure I miss out on something here. The two pieces are relatively short, around twelve and a half minutes each. In 'M', on the first side, the field recordings are embedded into a musical mix of percussive sounds, string instruments and such, but all of which sound very much like they are processed inside the computer. Something similar can be found, but then much more extended on the other side, 'F'. A zither perhaps, maybe a bass, some electronics and along, there are field recordings of a building site, church bells and birds. I prefer 'F' over 'M', as I enjoyed the fact that the musical elements brought in by Lami lifted the music to another level, whereas 'M' stayed more on the side of field recordings/documentation, and of which the relation with the overall project is a bit lost on me. Overall, I thought this was a most enjoyable record, of which I didn't understand certain aspects." [FdW / Vital Weekly] |
2023 |
€18.00 |
|
| 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 |
|
| LAST DOMINION LOST |
Snowdrops from a Curate's Garden |
CD |
“Snowdrops from a Curate's Garden” is a 2011 live recording of industrial veterans Last Dominion Lost with all exclusive, unreleased tracks. Active since 1992, Last Dominion Lost feature Jon Evans, John Murphy (Shining Vril, Krank, Ex-SPK/Whitehouse/Current 93) and Julian Percy. Through their pedigree, Last Dominion Lost are considered to justifiably carry the legacy of the legend that is SPK - and that’s also by their sound, as they stand for an undiluted brand of industrial music, combining shuddering analogue sounds, clanging metal rhythms and feedback with ritual percussion & chants. On “Snowdrops from a Curate's Garden” the main focus lies on the hypnotic, ritual and mental aspects of music, with an omnipresent metallic percussive backbone. It comes as no surprise to find the group reveling in dark subject matter like psychopathology, debasement and religious deviation, to which they manage to deliver an authentic soundtrack.
The LP is congruously accompanied by authentic photographs of the infamous Victorian era Lunatic Asylums in Kew and Beechworth, Australia. Last Dominion Lost take an ethically moved stance, commemorating the fact that from its beginnings as a penal colony, the majority of the early white Australians were drawn from the classes of the poor, dispossessed and desperate, long known as factors that encourage depression, alcoholism and psychological ill-being. The process of transportation was attended by squalor, disease and rape. These damaged individuals were then thrust into a harsh and alien environment, housed in circumstances worse than a modern refugee camp, and expected to build their own prisons – circumstances that effectively made mental illness was one of the colony's very first imports. From there the dismal history of mental hospitals took its course, evolving from incarceration over therapeutic occupation to, ultimately, medication. It is the practice of oppressing those who cannot “conform” to the norms imposed by the system, the root cause of the underlying aggression with which the Australian general public treated each other, and still continue to do.
This live album has been recorded at Kalyug Festival, Berlin in 2011 and is perfectly mastered by James Plotkin, providing the album a sharp, forceful & modern sound. Thus “Snowdrops from a Curate's Garden” can be considered the missing link between the grainy, demo-type 1990s recordings that became “The Tyranny of Distance” (Tesco, 2004) and the enthusiastically received “Towers Of Silence” album (The Epicurean / silken tofu, 2014), which displayed a very contemporary, indicatory approach at that classic industrial sound.
Beautifully duplex black/gold printed cover, 300g natural paper, postcard, 140g black vynil, black disco bag in transparent high quality sleeve with flap, includes download code. Limited edition of 253 copies, hand numbered. First 50 copies come with small postcard.
The Epicurean . cure.8
Format: 12" LP & file download
Release date CD: 23. October 2017
Release date LP: 21. October 2015
Artwork, typography and design: The Epicurean
Playtime: 37:42 min
|
2017 |
€13.00 |
|
| LE SYNDICAT 1984 |
Mars |
MC |
30 years after the first release of the classical "Mars" album, Aussaat now presents a limited Redux Edition, completely restored and enhanced using the original master tapes.
"Mars" was recorded in 1984 by Zorïn in the Noisecraft Workshop, Enghien, France.
But it is not before 1987 that it could come out as a cassette in very limited edition (100 copies) in an original box with the booklet "Schlagmusik".
This is an edition of 150 copies (including a subedition of 50 copies accompanied by the brand new booklet "Argument Total").
"Argument Total" present 32 pages of artwork by Zorïn created in 2014 - 2016, continuing the series KMX started in the early 1980s.
|
2016 |
€9.00 |
|
| LEGENDARY PINK DOTS & KETVECTOR |
The Shock Exchange |
LP |
"The Shock Exchange presents an encounter between two of the most interesting and unique projects of the current neo-psychedelic and electronic music panorama.
The Legendary Pink Dots need no introduction, and on Side A they once again solidify their status as musical pioneers with all new songs and swirling psychedelic arrangements led by the charismatic voice of Edward Ka-spel.
Side B is dedicated to the progressive and psychedelic electronic project kETvECTOR, born from the mind of Justin Bennett (Skinny Puppy / Bahntier) together with Stefano Rossello (Bahntier), showcasing many facets of the project; from electronic free jazz to ambient experimental and esoteric avant-garde.
The album also features paintings by Franke Nardiello (aka Groovie Mann) of My Life With The Thrill Kill Kult.
A transparent vinyl release exclusively for record store day 2015, not to be missed!" [label info]
www.rustblade.it
"When the first Compact Disc was released more than 30 years ago not many people were expecting that the LP would still be around in 2015. And even more, that it would make a come-back in the digital age. The LP today is not a mass product as it was back then, but more of a luxury product. Real music lovers want to experience music. Not just listen to it, but use all 5 senses. The tangibility, the artwork, the smell of it, it is all part of the experience.
The Italian Rustblade record label is specialized in limited releases like picture discs and special packed albums. The Shock Exchange is a transparent vinyl split LP limited to 299 copies. The beautiful cover paintings were made by Franke Nardiello (a.k.a. Groovie Mann) of My Life with the Thrill Kill Cult.
But most important is of course the music. The A side contains 3 tracks by The Legendary Pink Dots. The English/Dutch band celebrates its 35th anniversary this year. They are not the only band to last that long, and there are bands that are even older. But from their very first cassette release in 1980 there hasn't been a year where they did not release anything. In several years even more releases, and adding to that also solo releases and side projects such as The Tear Garden and Mimir. Also to this day they are still playing live regularly.
The current lineup of the band consists of founder members Edward Ka-Spel (vocals, keyboards) and Phil Knight (a.k.a The Silverman, keyboards & electronics) as well as Erik Drost (guitars, bass) and sound engineer and wizard Raymond Steeg. The last two years the band was in a very productive phase with lots of releases, including a few releases on Rustblade: Chemical Playschool Volume 15 (2013, CD box set), The Curse Of Marie Antoinette (2013, picture disc) and 10 To The Power Of 9 (2014, 2 LP / CD). During their 35 years of existence the band's sound changed, but there are a few elements that have been there from the beginning. First there is the typical sound of Edward's voice. Second his lyrics: strange little stories with (black) humor, inventive word playing, bizarre twists and a very English reserve. Never judging but always observing. Third is a sense of melancholy, a longing for the unreachable. Fourth is a psychedelic element. Fifth is the creative use of synthesizers and samples: they use their gear to create unique sounds. Sometimes alienating, sometimes very powerful.
The first track is very much in line with their previous releases, a more electronic driven song. The other two tracks are more minimalistic and melancholic.
kETvECTOR is the name of the collaboration between Justin Bennett (Skinny Puppy, Bahntier) and Stefano Rossello (Bahntier). This collaboration is meant to explore new frontiers. The first two tracks are based on an electronic rhythm. The third track has human played rhythm guitar and bass guitar, and the fourth track has no rhythm, it is more ambient. All tracks are instrumental. They are like musical sketches: with abstract lines and shadows, but not fully colored. It reminds me of Tuxedomoon, probably because of the wind instruments that were used as well as the Peter Principle like bass guitar in the third track. The kETvECTOR side sounds like the soundtrack to a movie. In particular some kind of road movie, travelling on long straight roads through wide open spaces to strange places. The kind of road movie without a happy end. Where the main character never finds what he is looking for in the end, because it is the search itself that keeps him going.
As a whole The Shock Exchange is not an easy album, and it takes an open mind and several listens before it reveals itself. But with every time you play it, you discover something new. In the end “difficult” albums are also the most pleasing ones.
[Erik Gibbels (edited by Astrid de Ronde)/ BACKGROUND MAG]
|
2015 |
€23.00 |
|
| LEGENDARY PINK DOTS (LPD) |
Hallway of the Gods |
CD |
1997. A big change again for the Dots as Martijn and Raymond had left while Edwin van Wanrooij (Atwyn) and Frank Verschuuren joined.
For sure the Dots went extremely spacey for “Hallway” and it remains a big favourite among band members to this day.
Press Release
Hallway of the Gods is the name of the brilliant new studio album by The Legendary Pink Dots, their first in two years. Recorded over the last 12 months in Nijmegen and Vancouver, this album presents the Dots at the pinnacle of their creativity. Psychedelic electronics are perfectly mated to Edward Ka-spel’s distinctive vocal style, producing a transcendent musical experience. Hallway of the Gods will initially be available as a limited edition double album, complete with different artwork and a bonus track, 9 Shades (Houston) Parts 1 & 2 that will not be available on the compact disc.
A spokesperson from the Dots’ camp issued this cryptic statement regarding the new album:
So you are sitting in a plane a few thousand feet above the Atlantic Ocean innocently gazing out of the window, when it suddenly becomes clear that all is not as it should be.
For a start, your sick bag is humming a somewhat atonal version of Gershwin’s Rhapsody in Blue in your right ear, just loud enough to irritate you and the cigar smoking geranium in the seat next to you.
Taking your eyes away from the window for a second, you note that your legs have disappeared, and in their place is a formless wobbling substance that resembled gelatin. Being a strict vegetarian you naturally find this disturbing, but your attempts to cry out for assistance end up sounding like small ‘feeeeeping’ sounds. A three headed eagle with bad breath squats on the seat in front of you screaming inaccurate quotes from the Koran in an obviously fake Irish accent.
It’s time for a nervous breakdown, but the eagle mutates into a balloon faced sergeant-major who bellows “This is NO time for a nervous breakdown, asshole – we gotta go hunting ventriloquists!” And the plane turns into a bottle o’beer, bottle o’beer… and the earth turns into a peanut butter sandwich which is in turn eaten by a crocodile and spat out again because it tastes like nothing and the whole goddamn universe melts into a green blob, grows an enormous leg, tap-dances on Fred Astaire’s skull and mutates into EVERYTHING again.
Time twists backwards, and you are sitting on a plane innocently gazing out of the window eating a piece of dried banana.
We are but playthings my friends. We are yours to disrespect, my large looming friend up there…
Welcome to the Hallway, the exits are lies. -EKS
STERREKRAZHNALIVSHIJAR-H ALHEMNIS
|
1997 |
€15.00 |
|
| |
From here you'll watch the World go by |
CD |
No album caused as much debate within The Dots as this one in 1995. It was all about the order of the tracks...quite simply no permutation seemed to work. Ultimately Phil (The Silverman) took the bull by the horns and asked for the independent opinion of long-term LPD friend Christoph Heemann.
The verdict was to leave certain songs off ("Beautiful Machine", "Anastasia", "Day Zero").
The resulting storm could be heard in the South of Belgium and a compromise was the "Remember me this Way" EP - a release which also settled disputes over the mix of the title track.
Even today, there can be debate about this album in Dots' circles but the author of this piece admits that "From here" stands as a personal favourite.
Elke made the fascinating artwork.
https://legendarypinkdots1.bandcamp.com/album/from-here-youll-watch-the-world-go-by-redux-2012-remaster
|
1995 |
€15.50 |
|
| LEITMOTIV LIMBO |
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 |
|
| LIFE GARDEN |
Songs from the other Side of Emptiness |
LP + 7inch |
"Life Garden was formed in Phoenix, Arizona during the fall of 1989 by George Dillon, Su Ling and W. David Oliphant. The group was the reinvention of post-industrial band Maybe Mental (1982-1987) and delved into an ineffable territory; where language failed, their music found root.
Life Garden's sound focused on creating a space that would transcend people to a world of beauty, intensity and mystery. Each release was loosely guided by one member, Caught between the Tapestry of Silence and Beauty (1991) was focused towards the poetry and vocals of George Dillon who sadly passed away after the completion of the album.
During this period LG began to shift from using synths and samplers to an all acoustic approach. Over several months Su Ling and David developed a unique improvisational style using digital multi-effects and loopers to process Su's vocals and a variety of percussion, string and wind instruments. This became the foundation of the LG sound and is heard thoughout 'Songs from the other Side of Emptiness'.
The LP + 7inch includes music from the following bodies of work-
Worlds Whirl Beneath The Sun Volume 1 (1990),
Pry Open My Mouth With The Red Knife Of Heaven (1992)
Seed (1993) and Ahitanaman (1995).
Artwork by Yuske Imai
Remastered by Wouter at Brandenburg Mastering"
lullabiesforinsomniacslabel.bandcamp.com
|
2017 |
€20.00 |
|
| LILES, ANDREW |
Somnambulance to Dream General |
CD |
Bevor Mr. LILES v.a. durch die Beteiligung an NURSE WITH WOUND einem grösseren Hörerkreis bekannt wurde, werkelte er jahrelang recht versteckt an seiner bizarr-surrealistischen Soundwelt herum, hier bestehend aus Synth-Drones & sperrigen Elektronoises, Pianosequenzen, Sprachmaterial, traditionelles englischsprachiges Gesangsmaterial (wie Kinderlieder und Abzählreime, die ein nostalgisches Flair verbreiten), melanchronische Instrumentalquellen, wirre found sounds und Versatzstücke aus Jazz, etc. etc.
SOMNAMBULANCE ist eine Neubearbeitung einer CDR-Compilation mit frühem Material - gleich 21 Stücke fanden den Weg auf dieses äusserst kurzweilige Album, schwankend zwischen Düsternis und anregender Exzentrizität. Als Einstieg in LILES recht einzigartige, verschrobene Klangwelt wohl ideal !!
"Somnambulance" is a reworking of an album of odd and obscure tracks that was released in a microscopic edition on CD-R before. For this CD, Mr. Liles has provided his funniest and possibly most controversial artwork as of yet. You get an hour of music of many different styles: Andrew Liles' trademark of eerie and spooky sounds is there; also electronics and a whole range of instruments are placed in between sketches and longer tracks. And if all this weren't enough, you get three bonus tracks that didn't appear on the CDR at all. After a long line of collaborations, finally a new album by Current 93 and Nurse With Wound man Liles himself!" [label info]
www.klanggalerie.com
|
2008 |
€14.00 |
|
|
Ouarda (The subtle Art of...) |
CD / DVD |
"We are pleased to announce for the first time on a digital format the release of a dual disc expanded edition of the critically acclaimed LP 'Ouarda (The Subtle Art of Phyllorhodomancy)'. 'Ouarda' features contributions from amongst others Danielle Dax, Rose McDowall and Edward Ka-Spel.Side One of this disc is an audio CD including an extra track and slightly remixed version of the LP. Side Two of the disc is a DVD which includes - A film by Michael Tang with musical adaptations by Colin Potter, Old Tom's Marrow - A film by Andrew Liles and three amazing 5.1 mixes by Freida Abtan. Packaged in a beautiful Super Jewel Box with a full colour 8 page booklet with stunning Liles artwork." [label info]
www.dirter.co.uk
|
2009 |
€16.00 |
|
| |
Monster Munch |
7inch |
"The first musical release in the 'MONSTER' series is the 'MONSTER MUNCH E.P.' The 'MONSTER MUNCH E.P' is an 8 track 7". Side one of the single is playable at both 45 and 33.3. The single comes in a beautiful card fold out sleeve that measures 14" by 14" with 'exotic' artwork by Andrew Liles. The record is pressed on candy coloured red vinyl and is limited to 300 copies. ‘MONSTER’ started in 2009 with the ‘GONZO’ download and t-shirt and two button badges. Planned for the coming months are a book and CD called 'DREAMY GORGEOUS MONSTER and a DVD ‘THE PHANTASMOGORICAL MONSTER THEY CALL TOKOLOSHE’. The first LP 'THE MIRACULOUS MECHANICAL MONSTER' will be released in May and a Mini LP 'THE MULDJEWANGK' in the summer months. The 'MONSTER' series of recordings and ephemera are unexpected musical adventures and all tie together as one cohesive 'MONSTROUS' anthology." [label info]
www.touretterecords.com
|
2010 |
€11.50 |
|
| LILES, ANDREW & DANIEL MENCHE |
The Progeny of Flies. Tres Muscae Consummunt Cadaver Equi Aeque Cito Ac Leo |
CD |
Untertitel: "TRES MUSCAE CONSUMMUNT CADAVER EQUI AEQUE CITO AC LEO" - "Die Nachkommen dreier Fliegen können ein totes Pferd schneller konsumieren als ein Löwe". Was das Label hier aufgeregt und ziemlich passend "brutal kosmisch" tituliert, entpuppt sich als eine dicke Drone-Suppe mit (wahrscheinlich) LILESschen Synth- und Piano-Sprengseln, man kann sich kaum auf diese nebligen Sounds konzentrieren, immer wieder wird das Bewusstsein eingelullt und quasi ausgeschaltet... vier lange Stücke. Minimal, dronig, und wie immer bei LILES mit einem dunklen surrealistischen Flair...
"Ed. of 500 copies in a book bound CD case.. Kold Krush Groove, y’all. Literally! Individually Liles and Menche have torn the experimental world many new ones, but as a unit they achieve a critical mass so monumental that they deserve their own Hollywood-style canoodling name. That name: Linch-Me-Eels. The graceful ferocity that oozes out within the first few seconds is such that…well, let’s just say that if you called friends and told them you were on the moon, they would believe you. A vicious, celestial-cathedral rumble gapes its maw and spews forth into a sluggish river of electro-magma, reshaping landscapes once carved out by Cremaster Cycles and the gravitational forces of the planet Solaris. While Menche’s test-tones defying low-end slowly compresses the woofers into diamond earrings, an emerging theme for tack piano cautiously stabs at the din. And just before cowboy-robot-gone-mad Yul Brynner shows up to kill all humans, the piano slinks away to make room for the buzzing progeny of the flies, whose crescendo of wing-beats quietly, subtly rises and rises the swarm to Jupiter and beyond the infinite. After multiple listens a Xen(akis)–like state is realized and there should be a giant Star Fly-Child in your living room. Brutally cosmic!!!" [label info]
"I have been a fan of the works of Mr. Liles and Mr. Menche for a while now, so this CD of their first ever collaboration is most welcome. And it looks great; packed in a hard carton slightly oversized CD sleeve with typical Liles-artwork. The 65+ minutes that form The progeny Of Flies are divided into 4 parts. Opener Eggs (signifying the first stage of the fly life cycle) features the now typical Liles-sounds augmented by Menche's higher and harsher frequencies. In one word beautiful. The second track 1st To 3rd Instar features low frequency pulses before subtle piano chords (and reverbed pedals) set in. Again full marks to Liles and Menche. "Pupar" (the third track) starts off with a horse's neigh. After that surprising intro we're in a world filled with bass tones with plucked strings and percussive elements. Closing track Metamorphoses (to end the fly theme) features a low, almost prehistoric growl and Menche's more noisy elements which builds up to a climax. The track ends with piano and the buzzing sound of a fly. This CD, subtitled "tres muscae conummunt cadaver equi aeque cito ac leo", which loosely and very cryptically translates into "three muscular complete corpses indeed quick justice and lion" is a gorgeous piece of work; beautiful, restrained and highly recommended!" [FK / Vital Weekly]
www.blrrecords.com
|
2008 |
€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 |
|
| LLOYD, DALE |
Akasha_for Record |
pic-LP |
"A welcome return from Dale Lloyd with this, his first new release in three years. Akasha_for Record is a two-part composition, filled with highly dynamic intricacies very carefully arranged. Rich micro-detail meets subtle emotional resonance in a spellbinding work created specifically for the vinyl format. Akasha_for Record is an opulent listening experience, indeed, and one that will reward close, repeated scrutiny. The record's artwork consists of two gorgeous, lightly manipulated, full-color photographic images by Lloyd. The sound/vision combination of Akasha_for Record is truly intriguing and utterly beautiful. Dale Lloyd is well known for phonography, composition, graphic design, and curatorial skills for his highly acclaimed and/OAR label. He has recorded for numerous labels over the years, including Elevator Bath, and/OAR, Alluvial Recordings, Mystery Sea, and Room40. Lloyd lives in Seattle, Washington. This picture disc LP has been released in an edition of 216 copies." [label info]
"... One of the two sides opens with a modulating hiss that harmonizes with a sinewy drone and gets punctured by a series bone-numbing electrical charges for something that could have some unsavory context had it been generated by John Duncan, but then again it could be a field recording of a grain-slew with minor post-production techniques. In fact, each of the pieces on Akasha For Record have this sense that they could be the results of well-situated field recordings like those of Tarab or Eric La Casa, as the smudges and grittiness of these recordings allude to
such strategies. Another track shimmers like the vibration of a loose piece of metal on an industrial HVAC, with the timbres generating a
surprisingly fluid and beautiful resonance like something Andrew Chalk would actively seek out. There's greater evidence of field recordings
on the tracks that do feature the roar of surf and a cold wind intermingled with the softened white noise of sand getting pushed around. Lloyd had devised this album to complement the crackles that get magnified through the picture disc - a medium which notoriously wears heavier than most pressings of vinyl. The album certainly works well with its medium. Beautiful stuff, and super limited to 216 copies." [Aquarius Records]
www.elevatorbath.com
|
2009 |
€17.50 |
|
| LOCRIAN |
New Catastrophism |
LP |
“New Catastrophism”, the first LOCRIAN release in seven years sees the iconic experimental music trio return back to their roots through four immersive tracks that signal towards the band’s signature expressions through dark ambient, experimental music, drone and post rock. Massive dystopian soundscapes through the intricate, layered, and spacious sound palette LOCRIAN unveil.
LOCRIAN is a prophetic voice of decline. From the band’s inception, it has comfortably straddled both the experimental and metal underground, weaving themes of apocalypse, urban decay, environmental destruction and birth/death/rebirth throughout its multifaceted and genre-defying releases. The trio formed in 2005 in Chicago and features Terence Hannum (synthesizers, vocals, tape loops), André Foisy (guitars, electronics), and Steven Hess (drums, electronics). Over their sixteen-year history, Locrian have released six studio albums, three collaborative albums, and numerous limited-edition releases.
"Locrian break their seven-year silence with a new full-length, New Catastrophism (Profound Lore), a beautiful, heady record that strips their aesthetic back to straightforward postmetal-flavored ambience and electronics...New Catastrophism proves once again that whether Locrian are operating with a minimalist or maximalist palette, they’re hard to top when it comes to conjuring dark, moving sounds."
--Luca Cimarusti, Chicago Reader
"From start to finish New Catastrophism is perfectly nuanced. There is nothing present that does not enhance the overall sound...["Ghost Frontiers"] showcase LOCRIAN’s dark/drone ambient side and do so extremely well. Whilst the tracks on New Catastrophism convey a society and planet on its knees, those on Ghost Frontiers transport you to a land where nothing remains...I can’t praise LOCRIAN’s work on New Catastrophism and Ghost Frontiers highly enough. The band continue to be inventive and evocative and have lost none of what made them so special in the seven years since they released new music."
-Dan Dolby, Veil of Sound
credits
released August 12, 2022
Recorded and mixed by J. Robbins
Mastered by Brad Boatright
Artwork by Trevor Paglen
Design by Chimere Noire
https://locrian.bandcamp.com/album/new-catastrophism |
2022 |
€17.50 |
|
| LOPEZ, FRANCISCO & ALBERTO NOVELLO |
Neocortical F-Bars |
CD |
‘neocortical f-bars’
by francisco lópez & alberto novello
01. francisco lópez - untitled#383 [36:44]
Created at ‘mobile messor’ (Madrid, Los Angeles, Den Haag) and ‘Dune Studio’ (Loosduinen), 2019-2020
(c) Francisco López 2020 – www.franciscolopez.net
02. alberto novello – 37:00 [37:00]
Created at ‘Ni Dieu, Ni Maitre Studios’ (Trieste, Italy), 2020
(c) Alberto Novello 2020 – www.jestern.com
Pieces created from shared source materials.
Photograph & artwork by Francisco López.
(p) 2020 Two-Headed Snake – t-hs.bandcamp.com
https://t-hs.bandcamp.com/album/neocortical-f-bars-by-francisco-l-pez-alberto-novello
"Neocortical F-Bars (recorded with Alberto Novello) has the distinction of having been released as a CD in 2020 on López’ hard-to-find sister label Nowhere Worldwide (typically distributed through Norman Records). A much different animal, this release pops and pings like injured playback devices from the last century. Midway through López’ side, a tempo develops, eventually lifting the piece from abstraction to form before a final reduction to static. Novello substitutes fizzes and whorls, occasionally slipping into silence while preparing the next movement. The tone is as cold and septic as its cover, ending in Geiger fuzz." [A Closer Listen]
https://acloserlisten.com/2021/01/30/francisco-lopez-two-headed-snake/
|
2022 |
€13.00 |
|
| LUCIER, ALVIN |
Works for the Ever Present Orchestra |
do-LP |
Black Truffle’s documentation of the prolific recent work of legendary American composer Alvin Lucier continues with Works for the Ever Present Orchestra. This is a very special release for the composer, as it presents pieces written for the thirteen-member Ever Present Orchestra, formed in 2016 exclusively to perform Lucier’s works. At the heart of the ensemble are four electric guitars, an instrument Lucier began composing for in 2013 with Criss-Cross (recorded by two core members of the Ever Present Orchestra, Oren Ambarchi and Stephen O’Malley, for whom it was composed, on Black Truffle 033). Through the use of e-bows, the guitars take on a role akin to the slow sweep pure wave oscillators heard in many of Lucier’s works since the early 1980s, but with added harmonic richness. Like much of Lucier’s instrumental music, the pieces recorded here focus on acoustic phenomena, especially beating patterns, produced by the interference between closely tuned pitches. The work presented here is some of the richest and most inviting that Lucier has composed. Though all of the pieces clearly belong to the same continuing exploration of the behaviour of sound in physical space and make use of related compositional devices, each takes on a strikingly different character. Titled Arc, for the full ensemble of four guitars, four saxophones, four violins, piano and bowed glockenspiel inhabits a world of sliding, uneasy tones, punctuated by a single piano note. Where Double Helix, for four guitars, rests on a pillow of warm, low hum, EPO-5, for two guitars, saxophone, violin, and glockenspiel possess a limpid, crystalline quality. Accompanying the four new compositions are two adaptations of existing pieces for radically different instrumentation, demonstrating Lucier’s excitement about the new possibilities suggested by this dedicated ensemble. Works for the Ever Present Orchestra is an essential document of the current state of Lucier’s continuing exploration, as well as offering a seductive entry-point for anyone who might yet be unacquainted with his singular body of work.
Presented in a deluxe gatefold sleeve with cover artwork and liner notes from Alvin Lucier. Includes a download code featuring hi-res vesions of the LP material. The download code also includes the bonus Adaptions for the Ever Present Orchestra featuring two pieces (“Two Circles” and “Braid”) that are not included on the LP version. Mastered by Rashad Becker. Design by Lasse Marhaug.
https://blacktruffle.bandcamp.com/album/works-for-the-
ever-present-orchestra
|
2020 |
€26.00 |
|
| LULL |
Moments |
do-LP |
Isolationist, minimal, alienating Drone / Dark Ambient from Mick Harris (SCORN, FRET, ex-NAPALM DEATH). Staggeringly beautiful, glacial sub-bass sounds, deep ambient and thunderous tones, with subtle shifts. Originally released as a 99-track continuous CD in 1998 (Relapse), now presented on vinyl for the first time, "Moments" is expanded to 100 cuts, with bonus material from the original recording sessions.
"Tectonic rumblings and icy sound slivers move and swirl around each other, slipping into spaces between the molecules which make up your physical body and then break it apart in preparation for rearrangement. Moments of expansive emptiness and claustrophobic terror overlap one another and then overcome your mind as you journey through this bleak void of sound. At one moment warm and organic, the next, slowly slipping into a machine-like coldness to freeze and paralyze... Sound as a vehicle to bring you through that doorway towards dimensions previously unknown. Hypnotic and soothing with a lingering sense of dread throughout" (Carrion Kind).
File next to Lustmord, Sleep Research Facility, Thomas Köner.
Double LP in a textured gatefold sleeve.
Ltd x 500 copies on 180gm brown vinyl.
Ltd x 250 copies on 180gm black vinyl.
Created and mixed by Mick Harris in the Box, January 1998
Edited and mastered by Bill Yurkiewicz and Dave Shirk at Sonorous Mastering, Inc., February 1998
Vinyl mastering for Cold Spring by Martin Bowes
Artwork by Abby Helasdottir
https://coldspring.bandcamp.com/album/moments-csr295lp
"The other new release is a re-issue. 'Moments' was already on CD in 1998, and while it was one long piece of music, the CD had 99 index points for your random pleasure. There are 100 (99 is the maximum for CDs), but how do you randomly play these from vinyl? I have yet to work out. I reviewed the CD back in Vital Weekly 140. Lull is Mick Harris, once of Napalm Death, later of Scorn. Lull was (is?) his deep ambient project. At the end of the century, we called this Isolationist music, which may have had various shapes, but Lull certainly was at the deep end of it all. His music was all about filtering out as many mid to high frequencies he could get away with and then giving the low bass end a few twirls, so there would be sufficient variation at work. With this approach, Harris had things very well under control. You could play this music at a shock and awe volume, inducing
earthquakes; I didn't do that, as I enjoy this on a moderate volume. Now, your room/space fills up with these low-end rumblings, and it becomes a more natural part of your environment. The variation within these small pieces is more than I remember from the CD version, usually lasting thirty seconds to a minute, with exceptions well below or above that. I am not convinced that vinyl is the best sound carrier for such low-end music. Perhaps, the CD format is more suited for such an experience, I thought. But this one surely is one of them when it comes to classic moments (pun intended) of historic isolationist music." (FdW) |
2021 |
€29.50 |
|
| |
That Space Somewhere |
CD |
"Cold Spring proudly present the first new album in 14 years from LULL - the pioneering, isolationist dark ambient project of MICK HARRIS (SCORN, FRET, ex-NAPALM DEATH).
LULL was conceived by Mick Harris in 1990, in an attempt to create music that would stretch, if not forsake entirely, the structures of conventional music by developing and exploring sound without beats.
MICK HARRIS ON LULL:
"I finally heard the way of recording, making profound sounds. Lull is purely something I can get lost in, as far as trying to create these imaginary spaces. And that’s what I always tried to do – to create. I'm a lover of sounds. I love collecting sounds. Playing with those sounds using various software until I created something new from that sound. Which for me end being what I call "a droner" or "a drift", I’d use those to create a piece of music, or a sound-scape. That's what I’m doing with Lull. Just trying to create soundscapes. And to this day, still, absolutely love doing that".
THAT SPACE SOMEWHERE:
"I haven't made Lull records since 2007 so... with this pandemic, I have time on my hands. I've used that time, I think, to the best. Going to the music-room is pretty much an everyday thing to me. Which has been the best thing because I’ve not been able to do this since the 90's when I had various studios... Since the lockdown I had all this time on my hands and I created a lot of good music, which I'm actually happy with.
I'm a fisherman. It gives me a lot of space. It gives me immense pleasure. For me it's about going to the river. I like moving water. The seasons change, the river changes with the seasons. It clears my mind, gives me ideas, gives me the space to be by myself and with nature... just listening to the sounds around me.
LULL is quite natural for me. It's an extension of me. Drifting. Just going to darkness. Into a space. LULL is drifting and droning, discovering more and more what can be done with sound. These soundscapes hugely appeal to me".
Mick Harris interview August 2020, courtesy of Peek-A-Boo Magazine.
Matt-laminate digipak with majestic artwork by Abby Helasdottir (Gydja)."
"Though this is dark ambient, the tone here is more meditative than menacing, something the name of the project has always made obvious and which always set Harris' work apart" (The Sleeping Shaman)
"The first really minimal music I encountered that really captivated me... It seems to exist somewhere on the threshold between consciousness and the unconscious" (Aaron Turner).
https://coldspring.bandcamp.com/album/that-space-somewhere-csr321cd |
2022 |
€15.00 |
|
| LULL & BETA CLOUD & ANDREW LILES |
Circadian Rhythm Disturbance Reconfigured |
CD |
"From England to the United States and back again... it all started as a simple drone project between LULL (aka Mick Harris of SCORN, ex-NAPALM DEATH), and BETA CLOUD (aka Carl Pace), based on the concept of how insomnia can effect your thought patterns. Billows of powerful bass drones set to indistinct flourishes of temporary insanity, it was released as a limited 3" CD in 2008. Now proudly presented in a deluxe digipak edition on cold spring, the original track is there, but also included is a fierce remix track by none other than legendary sound artist Andrew Liles (NURSE WITH WOUND), with stunning new packaging and artwork. Fans of Lull and Beta Cloud will really sink their teeth into this one; what Liles has created here is not a simple remix but a raging, deconstruction as only he can do. A captivating listen for dark ambient and harsh noise fans alike." [label info]
www.coldspring.co.uk
|
2012 |
€10.00 |
|
| LUMINOUS |
Links |
CD |
Neues Drone-Projekt aus UK - amorphe & transzendentale Klang-Figurationen, fliessend & zeitlos..... to discover !
"After a decade of activity, the first official CD by Tim Chaplin's electronic/experimental project Luminous. Links consists of two thirty minute pieces. For fans of drone, dark ambience and experimentalism. All CDs are housed in red clam shell cases and feature on body artwork by Thumbprint Press's WT Nelson." [myspace]
"Time for some sub-aquatic bubbling abstract electronics and dark ambient sound worlds from Links. 'Luminous' Two 30 minute tracks take you on a sonic journey and really give you the sense that your lost in a different space and time, like floating around in some liquid metal dreamscape. With the sound of drones creating a feeling of amnesia. Very absorbing stuff. I'd like to listen to this whilst locked in a cupboard and become a total void. Housed in a red clamshell case on Tara Records." [Norman Records review]
www.myspace.com/timchaplinluminous
|
2008 |
€13.50 |
|
| LUNAR ABYSS DEUS ORGANUM |
Bereg Teploj Vesny |
CD-R |
"First part of the dilogy of "Spring banks" (the title translates from Russian as "Bank of Warm Spring") is a new release from Lunar Abyss and the third release by Russian label Vetvei. The continuous tapestry was recorded during the night of May 8th on the "ex-mental stage" of the international open air festival "Systo Togethering 2006" held in the woods of Leningrad region. E.S. used tapes, loops, concrete sounds, ocarina, voice and N.N. used computer, sound-generator and tape recordings, so they were telling the tales of alchemical process at the banks of mythic rivers reflected in dreams of animals who awake in dreams from rivers-voices and heavens-birds. Frequency moves in the body of voice and outside, pulsations, permanent ambient movements-trans-formation, a journey tale with a shaman to the dwellings of primordial elements. The artwork features views of Finnish gulf opening in early May morning. Cardboard sleeve unique for each copy, 3 cards." [label info] |
2009 |
€12.00 |
|
| LUNAR ABYSS DEUS ORGANUM / HATTIFNATTER |
Ostrov |
CD-R |
"The new album, compiled from the autumnal home sessions and field recordings made with the project Hattifnatter (E.S. from L.A.D.O. and M.M. from Kryptogen Rundfunk). Spacey walks in deserted places, city streets and parks. Sound canvases - immersions, once in saturated bioactive environment, then minimalistically laid-back, a bit sorrowful flows and currents. Handmade artwork." [label info] |
2009 |
€13.00 |
|
| LUNDVALL, TOR |
The Shipyard |
LP |
"Tor Lundvall has graced us with yet another remarkable album this year. Previously, Lundvall had introduced himself to Dais with his masterpiece album Sleeping & Hiding and struck lightning twice with the resilient The Seasons Unfold box set and now we are humbled to be crafting the strings with the curation of his most recent effort. The Shipyard was recorded during the dramatic season change-over of '09/'10, during which time Lundvall was immersing himself in portrait studies of local maritime themes and nautical life at the docks. This instrumental collection of songs composed the soundtrack to the final renderings of these conceptual ideas put side by side, for which semblance he is most know for. Limited to 500 hand numbered vinyl copies (comes with a free MP3 download coupon) with artwork by Tor Lundvall." [label info]
www.daisrecords.com
|
2012 |
€18.00 |
|
| |
The Park |
LP |
"In 2012, ambient composer Tor Lundvall and Dais Records presented his second instrumental masterpiece entitled The Shipyard (2006’s Empty City being the first). After its release and universal praise, Lundvall had confided that there was a third instrumental album nearing completion entitled The Park.
Fostering his natural habitat of the wooded landscapes of Eastern Long Island, Lundvall again set about capturing his portrait studies and composing a lurid and abstract soundtrack to accompany his source of inspiration.
In Tor’s own words…"I first thought about making an album about a quiet park during a morning walk back in the frigid February of 2011. Song titles started popping into my head long before any music was recorded. 'Symbols on Pavement' was the first title that came to me, but ended up being the last piece recorded.
Like most of my previous albums "The Park" follows a timeline, in this case, beginning on an early spring morning and ending on a late summer evening. The track sequence also maps out the shifting light and weather patterns during the course of a day. For the first time in years, I've incorporated field recordings into the music, other than the sounds recorded from outside my studio window. I carried my portable recorder with me during bike rides and walks through my favorite parks, recording birds, insects, lawnmowers, wood chippers, field games, and other less definable sounds.
Parks have always been my sanctuaries and my greatest sources of inspiration since childhood. Although this album is not focused on one park in particular, the music resonates strongly with memories of my favorite childhood park, The James A. McFaul Environmental Center in Wyckoff, New Jersey. The McFaul Center is a place of quiet beauty, but it is also filled with shadows and secrets, especially deep within the Nature Trail. The final track, 'Closes At Dusk', is an homage to the siren which shrieked every evening from behind the towering pines."
Limited to 300 vinyl editions (along with a free MP3 download coupon) with artwork by Tor Lundvall." [label info]
www.daisrecords.com
|
2015 |
€22.50 |
|
| LUNDVALL, TOR & LEILA ABDUL-RAUF |
Ibis / Quiet Seaside |
7inch |
"Over the past few years, Tor Lundvall has thoughtfully displayed his ambient sound works in connection with Dais Records, releasing two retrospective multi-disc box sets and two full length albums. Apart from his collaboration with Tony Wakeford on Autumn Calls, collaborations with others have been extremely rare. Tor and multi-instrumentalist, Leila Abdul-Rauf (Vastum / Hammers of Misfortune / formerly of Amber Asylum) first got in touch in late 2011. Their exchanges eventually led to a musical collaboration of both like-minded artists joining in to illustrate their unique and personal visions of nature, life and art.
During a visit to Lundvall's home in May 2012, Leila wrote a spontaneous track on Tor's Winter Piano entitled Ibis. Tor recorded and engineered the track along with Leila's vocals. Later that month, Lundvall added various sounds and ambient washes to the mix. A solo version of Ibis, featuring the original piano / vocals but with additional horn, was released on Abdul-Rauf's debut LP Cold and Cloud on Saadi Saati Records in 2013 (Lundvall also designed the sleeve and created the cover art for this LP). The earlier, collaborative version of Ibis has remained unreleased until now. It was agreed that a 7" was the perfect format.
On the reverse, Lundvall has written a new piece entitled Quiet Seaside constructed around Abdul-Rauf's guitar riffs which Lundvall also recorded during her 2012 visit. The track captures Tor's signature lush keyboard and ambient whirl. The early mix was sent to Leila who worked in her slow-moving brass performance and textured tone scales to make this work as introspective as it is beautiful. Limited edition of 300 vinyl copies featuring artwork by Tor Lundvall. Release due on August 5, 2014." [label info]
www.daisrecords.com
|
2014 |
€11.50 |
|
| M.B. (MAURIZIO BIANCHI) |
Endometrio |
LP |
"First ever vinyl reissue of the highly coveted classic LP by Italian noise composer/ sound visionary Maurizio Bianchi. Originally released in an extremely limited private press quantity in Italy in 1983, Endometrio showcased M.B. at his most crucial turning point, delving into the uncharted waters he aptly titled 'bionic music', blending organic electronics with contorted sounds of the human body to compose one of the most interesting ambient records to date. Copies of the original LP are practically non-existent and hard to come by, therefore making this reissue an important addition to any experimental aficionado's audio library. Complete with current liners and artwork insert from Maurizio Bianchi, limited to 500 hand numbered editions." [label info]
|
2010 |
€19.00 |
|
| 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 |
|
| |
15/15 |
LP |
"A threesome of coloured vinyl by WORM Records. These records are extraordinary not just because of their appearance (bright yellow, blue and pink vinyl), but also because of their unique origins. The a-sides of the records were recorded for Soundpiece, a soundinstallation under the floor of the Schouwburgplein in Rotterdam. WORM invited the composers Machinefabriek, Pierre Bastien and Dyane Donck/Daisy Bell to compose a piece for this. The results are three soundartworks/tape compositions that are made for public space, but are impressive as an isolated piece of art as well. Towards the end of 2011 the pieces rang out at fixed times during the Soundpiece installation and something that stands out well, are the different approaches taken by the three composers.
Machinefabriek is the project of Rutger Zuydervelt. Machinefabrieks music combines elements of ambient, modern classical, minimalism, drone and field recordings. He already has a massive discography, with many of these titles self-released, but also including albums for well renowned labels and numerous collaborations.
Soundpiece is a soundinstallation in the public space of the Schouwburgsplein in Rotterdam and utilising 32 speakers covers an area of 30 by 30 meters. This enables the compositions to be spread at low volume throughout the entire square." [label info]
|
2012 |
€15.00 |
|
| MACIUNAS ENSEMBLE |
Yoplaboum |
do-LP/ CD |
Third release by the Maciunas Ensemble on Edition Telemark after 1976 (2015) and the self-titled 50th anniversary LP from 2018. The group had been founded in Eindhoven, The Netherlands, in 1968 with the aim of realizing the score "Music for Everyman" by Fluxus initiator George Maciunas, which they interpreted as allowing total freedom in the sounds being produced. The group met regularly, usually once a week during their heyday, and improvised on instruments that were at hand. Every session was recorded to be played back and discussed before the next session. This method meant that small changes and subtle new ideas could be integrated from one session to the next, eventually leading into completely new directions over a longer course. Paul Panhuysen linked this approach to the oral traditions of folk music.
One of their most productive periods were the early 1980s where, after settling on a stable line-up of Paul Panhuysen, Jan van Riet, Leon van Noorden and Mario van Horrik, the group developed their own brand of minimalist rhythmic music, inspired in equal parts by rock, post-punk, drone and minimal music of the time. A selection of named pieces had crystallized from the improvised sessions that were worked on and refined, many of them having long durations and featuring wordless vocals by Paul Panhuysen that added another unique rhythmic layer to the music. Phill Niblock, while visiting the ensemble's home base Het Apollohuis in Eindhoven, called some of these pieces "rhythmic drones", drones produced by repetitive rhythmic strokes, simultaneously on various instruments. Some recordings from this period can be heard on the LP "Music for Everyman 861" (released in 1986 on Apollo Records) and the above-mentioned self-titled LP.
Virtually unknown until now have been five more pieces that were released by the band in 1983 and 1984 on two cassettes named "YoplaBoum" and "Permanent Wave", in editions of 25 and 30 copies, respectively. They are re-released here for the first time, with a double LP featuring the whole "YoplaBoum" cassette – the 43-minute title piece split across the first two sides, the two others on sides C and D – and a CD including the two tracks from "Permanent Wave".
The double LP is housed in a single sleeve with two printed inner sleeves featuring liner notes by Leon van Noorden and Mario van Horrik, and a selection of photos and artwork from the period. The CD comes in its own cardboard sleeve and is attached to the outer LP sleeve with a removable glue dot. Edition of 300.
www.edition-telemark.de/923.08.html |
2021 |
€30.00 |
|
| MAEROR TRI |
Venenum / Timeless Transcension |
CD / DVD |
This is Infinite Fog's 4th step in reissues of Maeror Tri albums. 'Venenum' is a peaceful drone album recorded between 1989 and 1991. 'Venenum' was released in 1992 as a tape and reissued on limited 200 copies CD in 1999 by the short-lived French label ÜNE (r)ecords. This version is carefully remastered and packed in a deluxe hardcover digibook with booklet. Besides the CD, there is also a great surprise for all fans: a bonus DVD with 'Timeless Transcension', an experimental video created and released by the band in the 1992 year on VHS.
The outstanding artwork was created especially for the album by a young painter and designer from Saint-Petersburg, Anton Bogdanov, who did a great job for the 'Peak Experience' and 'Mind Reversal' reissues before.
https://infinitefog.bandcamp.com/album/maeror-tri-venenum
|
2018 |
€22.00 |
|
| MAGGI, PHIL |
Blue Fields in Paramount |
CD |
Nach der schönen IDIOSCAPES-Compilation die zweite Veröffentlichung für das belgische Label aus Gent. PHIL MAGGI ist Mitglied diverser Bands (z.B. ULTRAPHALLUS) und legt nach zwei CDRs seine erste "fabrikgepresste" CD vor. Seine subtilen wie ätherischen Drones werden mit field recordings aus Zagreb angereichert (Akkordeon-Folk eines Strassenmusikers, Sounds in einer Kirche), immer wieder sind im weiteren Verlauf effektierte Echo-Gitarren oder Rückwarts-Harmonien eingesetzt, die dem ganzen einen verträumt-sehnsüchtigen Anstrich geben... sehr schön, to discover !
"Blue Fields in Paramount is a very personal and fascinating opus, a beautiful introduction to the style of this talented artist, that could be qualified as 'dark psychedelia for daydream believers'. It has been mastered by James Plotkin (Khlyst, Khanate, Old, Phantom) and is out now as a limited to 300 copies ekopack release with a fantastic artwork by czech artist Jan Karpisek." [label info]
"The album contains a 39 minutes track that is formed by totally different mini suites made with loops, fields recordings (he did his sessions in a church and in the streets of Zagreb) and sampled contemporary classical music. The track starts with a dark ambient drone mood with tones inserts and follows with Zagreb sounds mixed with backward classical music. Suddenly anxious atmospheres take a hold thanks to synth sounds coupled with an orchestration of sampled/treated breaths. The tracks changes skins different times and each one is renewing like a phoenix born from its ashes and Phil succeeds into keeping the listener's attention high thanks to interesting sounds, light melodies and tension. I liked it..."" [Maurizio Pustianaz, CHAIN D.L.K.]
www.idiosyncratics.net
|
2009 |
€12.00 |
|
| MAGRINI, MASSIMO (BAD SECTOR) |
Vrachnas |
CD |
Backwards is really proud to present the first Massimo Magrini solo work. Massimo Magrini is well known for his main project BAD SECTOR.
"Vrachnas" is inspired by hypnagogic hallucinations and presents one long track full of drones, noises, distant voices, surrealistic soundscapes, fragmented sounds..., for a real journey into the obscure side of mind.
Hypnagogic hallucinations: vivid perceptual experiences that typically occur at sleep onset. Hypnopompic hallucinations are similar experiences but occurring at awakening.
Sleep paralysis: a state when, during awakening or falling asleep, a person is aware but unable to move or speak.
It may include hypnagogic hallucinations, such as shadowy figures entering the room while the subject is paralyzed.
During the paralysis the sleeper may hear imagined sounds like humming, buzzing noises, voices and whispers.
Released in an elegant matt varnished three panels ecopack with an amazing artwork of our lovely illustrator Mastereaster.
Edition of 400 copies.
https://backwardsrec.bandcamp.com/album/vrachnas
|
2018 |
€13.00 |
|
| MALONE, KALI |
Does Spring Hide its Joy |
3 x CD |
»Does Spring Hide Its Joy« is an immersive piece by composer Kali Malone featuring Stephen O’Malley on electric guitar, Lucy Railton on cello, and Malone herself on tuned sine wave oscillators. The music is a study in harmonics and non-linear composition with a heightened focus on just intonation and beating interference patterns. Malone’s experience with pipe organ tuning, harmonic theory, and long durational composition provide prominent points of departure for this work. Her nuanced minimalism unfolds an astonishing depth of focus and opens up contemplative spaces in the listener’s attention.
»Does Spring Hide Its Joy« follows Malone’s critically acclaimed records. Her collaborative approach expands from her previous work to closely include the musicians Stephen O’Malley & Lucy Railton in the creation and development of the piece. While the music is distinctly Malone’s sonic palette, she composed specifically for the unique styles and techniques of O’Malley & Railton, presenting a framework for subjective interpretation and non-hierarchical movement throughout the music.
»Does Spring Hide Its Joy« is a durational experience of variable length that follows slowly evolving harmony and timbre between cello, sine waves, and electric guitar. As a listener, the transition between these junctures can be difficult to pinpoint. There’s obscurity and unity in the instrumentation and identities of the players; the electric guitar's saturation timbre blends with the cello's rich periodicity, while shifting overtone feedback develops interference patterns against the precise sine waves. The gradual yet ever-occurring changes in harmony challenge the listener’s perception of stasis and movement. The moment you grasp the music, a slight shift in perspective guides your attention forward into a new and unfolding harmonic experience.
»Does Spring Hide Its Joy« was created between March and May of 2020. During this unsettling period of the pandemic, Malone found herself in Berlin with a great deal of time and conceptual space to consider new compositional methods. With a few interns left on-site, Malone was invited to the Berlin Funkhaus & MONOM to develop and record new music within the empty concert halls. She took this opportunity to form a small ensemble with her close friends and collaborators Lucy Railton & Stephen O’Malley to explore these new structural ideas within those various acoustic spaces. Hence, the foundation was laid for »Does Spring Hide Its Joy«.
In Kali’s own words: “Like most of the world, my perception of time went through a significant transformation during the pandemic confinements of spring 2020. Unmarked by the familiar milestones of life, the days and months dripped by, instinctively blending with no end in sight. Time stood still until subtle shifts in the environment suggested there had been a passing. Memories blurred non-sequentially, the fabric of reality deteriorated, unforeseen kinships formed and disappeared, and all the while, the seasons changed and moved on without the ones we lost. Playing this music for hours on end was a profound way to digest the countless life transitions and hold time together.”
»Does Spring Hide Its Joy« has since been performed live on many European stages, in durations of sixty and ninety minutes. Including at the Schauspielhaus in Zürich, the Bozar in Brussels, Haus Der Kunst in Munich, and the Munch Museum in Oslo. Concerts are forthcoming at Unsound Festival in Krakow, Mira Festival in Barcelona, the Venice Biennale, and the Purcell Room at the Southbank Center in London.
In addition to live concerts, the Funkhaus recordings of »Does Spring Hide Its Joy« have evolved in parallel as a site-specific sound installation. Malone has also invited the video artist Nika Milano to create a custom analog video work that interprets and accompanies the musical score as a fourth player, creating a visual atmosphere inspired by the sonic principles of the composition. Eight sequential video stills from Milano’s work are featured in the album artwork.
»Does Spring Hide Its Joy« is packaged in a heavyweight laminated jacket with full-color printed inner sleeves with artwork by Nika Milano. Mastered by Stephan Mathieu and cut at Schnittstelle Mastering, the record is pressed in perfect sound quality by Optimal in Germany.
https://kalimalone.bandcamp.com/album/does-spring-hide-its-joy
Does Spring Hide Its Joy ist ein immersives Stück der Komponistin Kali Malone mit Stephen O'Malley an der E-Gitarre, Lucy Railton am Cello und Malone selbst an gestimmten Sinusoszillatoren. Die Musik ist eine Studie über Obertöne und nichtlineare Komposition mit besonderem Augenmerk auf gerechter Intonation und schlagenden Interferenzmustern. Malones Erfahrungen mit der Stimmung von Pfeifenorgeln, der Harmonielehre und langer Kompositionen sind wichtige Ausgangspunkte für dieses Werk. Ihr nuancierter Minimalismus entfaltet eine erstaunliche Tiefenschärfe und eröffnet kontemplative Räume in der Aufmerksamkeit des Zuhörers. Does Spring Hide Its Joy ist eine Dauererfahrung von variabler Länge, die einer sich langsam entwickelnden Harmonie und Klangfarbe zwischen Cello, Sinuswellen und E-Gitarre folgt. Für den Hörer ist der Übergang zwischen den einzelnen Abschnitten oft schwer auszumachen. Das gesättigte Timbre der E-Gitarre vermischt sich mit der reichen Periodizität des Cellos, während die sich verschiebenden Oberton-Rückkopplungen Interferenzmuster mit den präzisen Sinuswellen entwickeln. |
2023 |
€23.50 |
|
| MALONE, KALI (FEATURING STEPHEN O'MALLEY & LUCY RAILTON) |
Does Spring Hide its Joy |
3 x LP |
»Does Spring Hide Its Joy« is an immersive piece by composer Kali Malone featuring Stephen O’Malley on electric guitar, Lucy Railton on cello, and Malone herself on tuned sine wave oscillators. The music is a study in harmonics and non-linear composition with a heightened focus on just intonation and beating interference patterns. Malone’s experience with pipe organ tuning, harmonic theory, and long durational composition provide prominent points of departure for this work. Her nuanced minimalism unfolds an astonishing depth of focus and opens up contemplative spaces in the listener’s attention.
»Does Spring Hide Its Joy« follows Malone’s critically acclaimed records. Her collaborative approach expands from her previous work to closely include the musicians Stephen O’Malley & Lucy Railton in the creation and development of the piece. While the music is distinctly Malone’s sonic palette, she composed specifically for the unique styles and techniques of O’Malley & Railton, presenting a framework for subjective interpretation and non-hierarchical movement throughout the music.
»Does Spring Hide Its Joy« is a durational experience of variable length that follows slowly evolving harmony and timbre between cello, sine waves, and electric guitar. As a listener, the transition between these junctures can be difficult to pinpoint. There’s obscurity and unity in the instrumentation and identities of the players; the electric guitar's saturation timbre blends with the cello's rich periodicity, while shifting overtone feedback develops interference patterns against the precise sine waves. The gradual yet ever-occurring changes in harmony challenge the listener’s perception of stasis and movement. The moment you grasp the music, a slight shift in perspective guides your attention forward into a new and unfolding harmonic experience.
»Does Spring Hide Its Joy« was created between March and May of 2020. During this unsettling period of the pandemic, Malone found herself in Berlin with a great deal of time and conceptual space to consider new compositional methods. With a few interns left on-site, Malone was invited to the Berlin Funkhaus & MONOM to develop and record new music within the empty concert halls. She took this opportunity to form a small ensemble with her close friends and collaborators Lucy Railton & Stephen O’Malley to explore these new structural ideas within those various acoustic spaces. Hence, the foundation was laid for »Does Spring Hide Its Joy«.
In Kali’s own words: “Like most of the world, my perception of time went through a significant transformation during the pandemic confinements of spring 2020. Unmarked by the familiar milestones of life, the days and months dripped by, instinctively blending with no end in sight. Time stood still until subtle shifts in the environment suggested there had been a passing. Memories blurred non-sequentially, the fabric of reality deteriorated, unforeseen kinships formed and disappeared, and all the while, the seasons changed and moved on without the ones we lost. Playing this music for hours on end was a profound way to digest the countless life transitions and hold time together.”
»Does Spring Hide Its Joy« has since been performed live on many European stages, in durations of sixty and ninety minutes. Including at the Schauspielhaus in Zürich, the Bozar in Brussels, Haus Der Kunst in Munich, and the Munch Museum in Oslo. Concerts are forthcoming at Unsound Festival in Krakow, Mira Festival in Barcelona, the Venice Biennale, and the Purcell Room at the Southbank Center in London.
In addition to live concerts, the Funkhaus recordings of »Does Spring Hide Its Joy« have evolved in parallel as a site-specific sound installation. Malone has also invited the video artist Nika Milano to create a custom analog video work that interprets and accompanies the musical score as a fourth player, creating a visual atmosphere inspired by the sonic principles of the composition. Eight sequential video stills from Milano’s work are featured in the album artwork.
»Does Spring Hide Its Joy« is packaged in a heavyweight laminated jacket with full-color printed inner sleeves with artwork by Nika Milano. Mastered by Stephan Mathieu and cut at Schnittstelle Mastering, the record is pressed in perfect sound quality by Optimal in Germany.
https://kalimalone.bandcamp.com/album/does-spring-hide-its-joy
Does Spring Hide Its Joy ist ein immersives Stück der Komponistin Kali Malone mit Stephen O'Malley an der E-Gitarre, Lucy Railton am Cello und Malone selbst an gestimmten Sinusoszillatoren. Die Musik ist eine Studie über Obertöne und nichtlineare Komposition mit besonderem Augenmerk auf gerechter Intonation und schlagenden Interferenzmustern. Malones Erfahrungen mit der Stimmung von Pfeifenorgeln, der Harmonielehre und langer Kompositionen sind wichtige Ausgangspunkte für dieses Werk. Ihr nuancierter Minimalismus entfaltet eine erstaunliche Tiefenschärfe und eröffnet kontemplative Räume in der Aufmerksamkeit des Zuhörers. Does Spring Hide Its Joy ist eine Dauererfahrung von variabler Länge, die einer sich langsam entwickelnden Harmonie und Klangfarbe zwischen Cello, Sinuswellen und E-Gitarre folgt. Für den Hörer ist der Übergang zwischen den einzelnen Abschnitten oft schwer auszumachen. Das gesättigte Timbre der E-Gitarre vermischt sich mit der reichen Periodizität des Cellos, während die sich verschiebenden Oberton-Rückkopplungen Interferenzmuster mit den präzisen Sinuswellen entwickeln.
https://kalimalone.bandcamp.com/album/does-spring-hide-its-joy
|
2023 |
€49.50 |
|
| MARHAUG, LASSE |
Spaghetti Western Rainbow |
CD |
"Hailing from the land of the rising snow, Lasse Marhaug has become one of the most commanding and respected sound artists in Norway. As a musician and composer he has contributed to cd, vinyl and cassette releases for labels throughout Europe, Asia and America. Aside from solo work, Marhaug contributes to several ensembles including Nash Kontroll (iDEAL) and a large Jazkamer unit (Smalltown Supernoise) with black metal legends Enslaved. Having collaborated with artists from varying fields of musik (Sunn O))), Aaron Dilloway and Maja Ratkje) Marhaug's reach extends into musik for theatre, installations and video.
A salvo to Ennio Morricone, Spaghetti Western Rainbow stands testament to the Italian composer's enduring influence. Morricone collaborator Sergio Leone established the spaghetti western genre in 1964 with A Fistful of Dollars. The director used Morricone again to score the remaining two films in his three-part account of greed and violence (For a Few Dollars More and The Good, The Bad and the Ugly.) Leone's critics were struck by his brutal depiction of an unromantic West, but his singular style, camera angles and extension of time made his work different from any western that had come before. Lasse Marhaug exacts Leone's slow, beautiful power and love for expanse with shades of Morricone's subtle witchery to create what will inevitably be considered one of his masterworks. Harsh, dry passages blend with drifting soundscapes, bird calls and an asseverate guitar figure that promotes an invigorating context for film musik.
Issued on Utech Records [001] as a micro pressing of 100 cdr copies in the winter of 2004. Lasse Marhuag first performed this music as an improvised laptop work for Chicago radio station WNUR. This edition finds the original piece remastered and divided into two tracks that open and close the album. Two unreleased tracks have been added to cpmplete the disk. Artwork inspired by the film The Great Silence." [label description]
|
2006 |
€12.00 |
|
| MARUTTI, ANDREA & FAUSTO BALBO |
Detrimental Dialogue |
CD |
"Andrea Marutti and Fausto Balbo have met in 2005 at Lab12 in Vigevano; both active in music making since more than fifteen years, their friendship has grown over the years on the fertile ground of the interest that they share about electronic experimentation and their wide and open-minded listening habits.
"Detrimental Dialogue", their very first collaboration, deeply explores various types of analogue and digital synthesis (additive, subtractive, Physical Modeling, FM, Phase Distortion, Granular, etc.) and live electronics elements.
Recorded together in the authors' studios and then worked out in seclusion between 2007 and 2009, the tracks on "Detrimental Dialogue" were subsequently redefined during a one-week long collective mixing session rigorously made with analogue equipment and precious outboard effects at Fausto Balbo's studio.
The album presents four experimental electronic pieces whose exact classification eludes us since their musical contents are rich of the most disparate suggestions.
In a formula full of its own natural-born personality, we find elements that recall prominent experimental forms - sometimes pseudo-abstract - rich of fragments, loops and "clusters" of sounds that bear a pronounced and exhibited synthetic matrix.
"Atmospheric", dilated and generally quiet sequences are alternated with more structured, dramatic and progressive moments that shake the listeners and emotionally involve them with a more orthodox path, without giving way to conventional or stereotyped solutions.
The artwork created by Stefano "Sicksoul" Rossetti enrich this nice work offering an "alien" rendition of the music, and once again "Space Is the Place"!" [label info]
www.aferecords.com
|
2010 |
€13.50 |
|
| MASTER MUSICIANS OF BUKKAKE |
Elogia de la Sombra |
maxi-CD |
"Two tracks, 31 minutes. Southern are very excited to present the latest release in our Latitudes series from Master Musicians of Bukkake. Recorded at Southern Studios by Harvey Birrell on 17 April 2010. Additional tracking and mixing at Aleph Studios in Seattle. Produced by Randall Dunn. Mastered by Mell Dettmer. Artwork by Randall Dunn and A.Turner. Elogia de la sombra is the 24th recording in the Latitudes series. Edition of 1000 copper foil-stamped and hand assembled CDs and 1000 LPs.
Master Musicians Of Bukkake are an enchanting collective, comprising a fine pedigree of musicians from bands as diverse as Earth, Sun City Girls and Burning Witch. With an amalgam of global influences drawn from music, philosophy, mysticism, and the kitchen sink, they are difficult to pigeonhole, but this is to their credit as Master Musicians are entirely original and when they come together, the result is truly magical.
I see Master Musicians Of Bukkake as a kind of sonic playground, allowing an even greater form of expression for these like-minded individuals. Call it the Exotic Other. Needless to say, the prospect of watching all of those musicians perform together live is always an event. We just had to get them to the Southern Studios to record a Latitudes session, knowing full well that they would adapt to the improvised nature of these sessions with great ease, and with great results!
The finished piece is two lush tracks, the first a sumptuous canyon of melody and timbre and the second an arcane tribute to NEU! and such Krautrock pioneers. Both tracks are testament to their musical prowess. Absolutely mesmerising." [Lauren Barley]
Track Listing
1. Tainted Phenomena
2. Elogia de la sombra
Running time 00:30:59 minutes
www.southern.com/southern/label/LTT
|
2010 |
€11.50 |
|
| |
Elogia de la Sombra |
mLP |
"Two tracks, 31 minutes. Southern are very excited to present the latest release in our Latitudes series from Master Musicians of Bukkake. Recorded at Southern Studios by Harvey Birrell on 17 April 2010. Additional tracking and mixing at Aleph Studios in Seattle. Produced by Randall Dunn. Mastered by Mell Dettmer. Artwork by Randall Dunn and A.Turner. Elogia de la sombra is the 24th recording in the Latitudes series. Edition of 1000 copper foil-stamped and hand assembled CDs and 1000 LPs.
Master Musicians Of Bukkake are an enchanting collective, comprising a fine pedigree of musicians from bands as diverse as Earth, Sun City Girls and Burning Witch. With an amalgam of global influences drawn from music, philosophy, mysticism, and the kitchen sink, they are difficult to pigeonhole, but this is to their credit as Master Musicians are entirely original and when they come together, the result is truly magical.
I see Master Musicians Of Bukkake as a kind of sonic playground, allowing an even greater form of expression for these like-minded individuals. Call it the Exotic Other. Needless to say, the prospect of watching all of those musicians perform together live is always an event. We just had to get them to the Southern Studios to record a Latitudes session, knowing full well that they would adapt to the improvised nature of these sessions with great ease, and with great results!
The finished piece is two lush tracks, the first a sumptuous canyon of melody and timbre and the second an arcane tribute to NEU! and such Krautrock pioneers. Both tracks are testament to their musical prowess. Absolutely mesmerising." [Lauren Barley]
Track Listing
1. Tainted Phenomena
2. Elogia de la sombra
Running time 00:30:59 minutes
www.southern.com/southern/label/LTT
|
2011 |
€14.00 |
|
| MATHES, JEREMIE |
Arkhaios |
10inch |
"These two new 10" releases (of LP length) lead to an area where words and rational thinking are suspended, and a connection with deeper parts of your mind begins...
JEREMIE MATHES is a French field recording artist (known for some excellent CDs on Unfathomless) living in Cambodia since some years. For "Arkhaios" he combined cavernous object drones (recorded at an abandoned factory site) with various instrumental sounds from ancient Khmer instruments (Tro u, Khim), all highly processed. You get the impression as being under the earth in a place populated by metallic amoeba or other smallest creatures, inside sewerage ducts or an deserted mine, exposed to the circulation of air...
This is the spirituality of the underworlds! "Dissolving time, space, mangling sounds collected into a simulacrum of altered realities. A oneiric junction between the concrete world and other unknown
territories." [J. Mathes]
ed. of 300 copies, black vinyl, Artwork by Stijn Deprez, based solely on pictures realised by Jérémie Mathes." [press release]
https://soundcloud.com/drone-records/jeremie-mathes-tomleiki
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"The two pieces are based on same materials s "Uunartoq Qeqertoq" for the Drone Mind Serie LP [vol 04] on Drone records, and on my album "Fallow Memory" on Unfathomless label: A coalescence of acoustic sound sources recorded in an industrial complex of abandoned factories in South of France between 2010 to 2015.
In-situ improvisations inside reverberant metal tanks, deserted warehouses that I had the possibility to infiltrate during my exploration of the site. Generating sound in these empty spaces mainly by using found objects, combined with instruments that I've brought as a Tibetan bowl, small bells, percussions, cymbal, a bow, and a violin. Capturing the inner substance, the hidden vibrant matter of various types of metallic structures, machinery, tubes, and pipes o extended my sonorous palette.
All of these elements were used exclusively in the composition of my pieces. Dissolving time, space, mangling sounds collected into a simulacrum of altered realities. A oneiric junction between the concrete world and other unknown territories. Recorded, edited and composed by Jérémie Mathes [2017/ 2018].
Artwork by Stijn Deprez, based solely on pictures realised by Jérémie Mathes." [artist info]
www.substantia-innominata.de/SUB-27.html
|
2020 |
€15.00 |
|
| MAZK: MASAMI AKITA & ZBIGNIEW KARKOWSKI |
In Real Time |
CD |
Alles andere als harsh noisig beginnt dieser one-tracker von 67 Minuten Länge, der aus live-Mitschnitten von Venedig & Frankfurt-performances zusammengebraut wurde. Ganz allmählich wird aus tief-frequenten Brummen und Summen eine das ganze Frequenzband auslotende Geräuschkomposition, bei der v.a. die starken Stereo-Kontraste und collagierten, abgehackten Sounds auffallen, zwischendurch gibt es sehr ruhige Parts und die stetigen Wechsel machen dies zu einer kurzweiligen Klangerfahrung. IN REAL TIME ist ein überraschend ausgewogenes und feingliedriges Stück, bei dem es nicht nur auf die Fresse gibt ! Dies müsste schon das dritte Album als MAZK sein, wenn wir noch bis drei zählen können nach diesem hirnvernebelnden Synapsen-Killer !
„Recorded in Venice, Italy, and Frankfurt Am Main, Germany Reedited and mastered at Compound Studios, San Francisco Artwork by Felix Rosier Released in May 2005.” [credits]
|
2005 |
€13.00 |
|
| MCDOWALL, DREW |
The Third Helix |
LP |
For this third release on Dais, Drew McDowall reaches into concept, ritual, and immersion, in an exercise of unravelling the DNA of hallucination. The Third Helix is McDowall's product of deconstructive exploration, twisting the fibers of being into new structure, shape, pattern, and pulse, without reconstituting its inscribed template.
The result is a true third act,in McDowall's career, that has seen him peregrinate from the late-70s art-punk of the trio Poems to his work with Psychic TV and Coil throughout the 80s and 90s, into his current home of New York City, where he has composed with CSD, Compound Eye, as well his solo work. That triangulation is central to The Third Helix, as it begins with his dive into the existence of a sensory toolkit unique to McDowall before twisting faculties and reconfiguring consciousness by honoring inherent power, cognizant of memory yet agnostic of context.
With the tenet that journey is rarely linear, but rather an omnipresent oscillation of matter, sound is stripped to salient and primal, propelled by McDowall's boring into the core of memory and impulse, suturing together the silent awareness of excogitating experience.
Featuring eight new tracks of McDowall's dark, experimental electronics, including the opener "Rhizome", The Third Helix is a churning descent into emotion, provoking thought and reflection while carving out haunting space only to fill it with baffling and wondrous structures of layered sound. McDowall solidifies himself as an architect who transforms otherworldly materials into something fascinating and challenging in the process.
Unnerving, trancelike anthems for nervous meditation and anxious relaxation, fans of Coil will immediately connect and immerse, while the complex compositions welcome listen for drone and ambient enthusiasts.
Packaged within a thick sturdy matte sleeve jacket featuring artwork/design by artist J.S. Aurelius (Ascetic House/Marshstepper).
https://drewmcdowall.bandcamp.com/album/the-third-helix
|
2018 |
€22.00 |
|
| MEIZTER, K |
Travelling Light |
CD |
Solo-Album des B.S.E.-Mitglieds, der hier neue Wege einschlägt, wie immer bei HORUS in exquisiter Cover-Aufmachung.. "Auch wenn die erkleckliche Verbindung von Dark Ambient und Rhythmus keine Erfindung von K. MEIZTER ist, deuten Tracks wie Play It As It Lays in eine mir bisher unbekannte, aber recht interessante Dark Trip Hop Richtung und vielleicht ist ja auch der Titel Teil des Programms, dass man sich nicht um Genregrenzen scheren soll. Irgendwie wird hier das Kunststück zelebriert, dunkle Soundscapes mit Rhythmen zu versetzen, ohne diesen ihre düstere Spannung zu nehmen, denn die Befürchtung, Dark Ambient mit falsch eingesetzter Rhythmik zu verhunzen ist wohl nachvollziehbar. Stellenweise geht das Ganze dann sogar etwas in Richtung Industrial, wobei dies vor allem an den verwendeten Samples liegt und z.B. bei The Local Group nach einer guten Minute unterbunden wird, um wieder mehr loungetauglichen Klängen und Rhythmen Platz zu machen. Überhaupt hängt es auch auf diesem Album zum Großteil von den verwendeten Samples ab, in welche Richtung die Atmosphäre geht, wobei man hierzu sagen muss, dass ebenso wie Drumcomputer und Bass auch die Samples gut platziert eingesetzt worden sind. Travelling Light erschafft so ziemlich neuartige Klangkonstruktionen, die man sich eventuell ausmalen kann, wenn man sich ein Remix-Wars Album von GOLDFRAPP und HERBST9 vorstellt, bei dem der BRYN JONES der Baghdad -Ära auch irgendwie seine Finger im Spiel hatte. Travelling Light klingt genauso, nur eben ganz anders. Am besten anhören! Wegen seines außergewöhnlich ruhigen Charakters ist das schöne Some Battles On vielleicht nicht der repräsentativste Anspieltipp, also sollte man auch zumindest noch Honesty Through Paranoia sein Gehör leihen." [KMF]
"K. Meizter makes his solo debut with Travelling Light after five successful years in BEYOND SENSORY EXPERIENCE. Still lurking in the realms of dark ambient, K. Meizter now sets foot towards more experimental grounds focusing on melancholy melodies and twisted rhythms.
Travelling Light takes you on an intriguing journey through the Universe of Mind and comes
with elegant and thought-provoking artwork
presented in a special hand-numbered oversized booklet. The album has been mastered by
Mika Goedrijk (of This Morn’ Omina) at Atomic Studios and in some parts it would remind best times of this ritual group! References: Hybryds, 4th Sign of the Apocalypse, TMO." [label info]
www.horus.cz
|
2006 |
€15.00 |
|
| MELANCHOHOLICS |
Solar Cafe |
LP |
By combining found noises and field-recorded nature with minimal fragile surfer-tone post-rock-guitars, drones and fuzzy low-end bass-lines, Melanchoholics create mad extensive soundscapes and almost cinematic soundtracks to psychotic euphoria and intoxicated wastelands.
After releasing on Drone Records, MNDR and deafborn, Solar Café is their final low-end manifesto for low-end connoisseurs.
Vinyl 12" contains download code including CD only Track "Nuclear Welfare" + bonus material "Postnovoletna Depresija" and "Disgusting however fascinating"
Solar Café is the third and final chapter within the discography of MELANCHOHOLICS. It was recorded and mixed by MELANCHOHOLICS between 2006 and 2010. The Cover Artwork as of Solar Café was done by Derek Roczen. It's based on a series of stunning photos Benedikt shot during research for a documentary on the long waiting period for the summer solstice in the village of Flateyri situated in Iceland's Westfjords. Hence the album title “Solar Café”. Almost one year later Benedikt died of cancer at the age of 32. Melanchoholics managed to complete the album shortly before Benedikts departure. The album is released on 29.12.2014 via Eibon Records (CD) and Deafborn Records (12” 180g Vinyl). The vinyl-version of Solar Café is limited to 400 hand numbered copies. The album was mastered separately for CD and Vinyl by Michael Schwabe @ Monoposto.
Sound of Solar Café
On Solar Café Melanchoholics once again have set their attention directly to the lurid sides of human personalities: desperate internal fears. Simplistic structures and melodies fleshed out well with subtle textures and voices. The feeling is one of lamentation and dreariness as the sounds trudge along. Yet there is a warmth and smokiness to it as well. There is a colourful darkness before that day comes... the moment to celebrate the return of sunlight.
www.melanchoholics.de
"It's been a long, long time since I reviewed 'A Single Act Of Carelessness' by the German band Melanchoholics (see Vital Weekly 530). This trio was Benedikt on guitars, Philip on bass and Lutz on electronics; was, because the band no longer exists, so it seems, following the passing of Benedikt Bjarnason a few years ago. The music on 'Solar Cafe' was recorded from 2006 to 2010 and then it took some more time to finish the release. But the result is certainly great. With their previous release I compared it with the old ambient industrial music that was en vogue in the late 80s, when bands started to play guitars with cello bows, adding bits of conversations, made it all more atmospheric, but at the same time also with that dark, noisy undercurrent never far away. Music like passing dark clouds over an abandoned industrial lot, but Melanchoholics add more spacious guitars to the recipe, owing a bit to the world of post-rock. In 'Presence of Absence' they depict with the guitars vast
open territories while the steady slow beat is like an oilrig. Get my drift? It's music that I quite like actually. It's both abstract and musical; it's both atmospheric and noisy - from time to time. It has that great cinematic quality to it. It's experimental music just the way I like it; like very much, actually. Perhaps one could argue there is not a lot of difference between this and the previous release, but with such as small output: who cares? One could care however about the fact that this band is no more and the musical development has come to an end. That's perhaps the saddest conclusion one could draw from this release. Sad but beautiful that's how it ends here with the final piece, 'Minus 1 One'." [FdW/Vital Weekly]
"Drittes und letztes Album der Melanchoholics. In der Besetzung Gitarre, Bass und Elektronic / Fieldre-cording hatte das Trio seit 2003 zwei CDs, eine 7″ und verschiedene Soundtracks veröffentlicht, verbunden mit europaweiten Touren, abrupt beendet durch den plötzlichen, krankheitsbedingten Tod von Gitarrist Benedikt Kristofer Bjarnason in 2010, mitten in der Arbeit an der nun vorliegenden Veröffentli-chung, damals erst gut zur Hälfte fertiggestellt. Die Arbeit an der Veröffentlichung blieb liegen, der Veröffentlichungsdeal mit einem US-Label platzte und erst mit der Erkenntnis, trotz des Verlustes weitermachen zu wollen (bezeichnenderweise als Minus1one), beschlossen Bassist Phillip und Elektroniker Lutz, “Solar Cafe” als Vermächtnis der bisheri-gen Bandgeschichte zu vollenden und zu veröffentlichen. Wohl wissend, dass es Veröffentlichungen von Bands, die es gar nicht mehr gibt unterhalb eines bestimmten Bekanntheitsgrades und zwangs-weise ohne Live-Support definitiv schwer haben.
Aber, trotz dieser Widrigkeiten, es hat sich definitiv gelohnt, diesen Schritt zu tun: “Solar Cafe” zeigt die Fähigkeiten der damaligen Melanchoholics gegenüber den bisherigen Platten auf einem neuen Stand; die bandeigene Art der Komposition, gleichzeitig wie auf dem Sprung befindlicher wie in der Zeit erstarrter Tracks zu komponieren, die zudem viel von tatsächlichen Songs zu haben scheinen oh-ne wirklich welche zu sein, ist auf “Solar Cafe” zu neuer Perfektion gereift. Und über allem eine Atmo-sphäre, die nicht trefflicher als durch den Bandnamen zu beschreiben ist: keine gefühlte oder gar auf-gesetzte Düsternis, vielmehr eine Art von wehmütiger Melancholie, die möglicherweise am stärksten durch die irgendwo zwischen Arpeggio und Anschlag changierenden Gitarren und die immer wieder präsenten, funkspruchartigen Fieldrecordings verursacht wird, unterlegt durch Flächen und Bassschü-be im Untergrund. “Solar Cafe” ist damit auch in seinen ruhigsten Abschnitten keine flächenartig ange-legte Musik wie die so vieler Anderer, die im Feld der experimentellen Musik ohne Schlagzeug bzw. Drumprogrammierung arbeiten: der paradoxerweise wie erstarrte Fluss dauernder Bewegung bleibt stets bestimmendes Moment.
Rein musikalisch betrachtet, den ohnehin nicht zu beziffernden menschlichen Verlust bewusst ausge-klammert, definitiv ein herber Verlust, dass nach diesem Höhepunkt, passenderweise auf zwei Formaten veröffentlicht (Vinyl + CD), in dieser Form nichts mehr zu erwarten ist. Was bleibt ist diese wirklich gelungene Platte und die Chance, dass das Nachfolgeprojekt Minus1one vielleicht andere, aber ebenso interessante Wege verfolgen wird. Und jetzt: ihr." [Hellmut Neidhardt / Black mag] |
2015 |
€16.00 |
|
| MENCHE, DANIEL |
Kataract (Alpha Mix) |
LP |
"Edition of 300. Daniel Menche: Waterfall recordings and electronics. All waterfall field recordings were captured around the Pacific Northwest of USA. Mixed and recorded throughout 2007-2009. Mastered in the analog domain at Stereophonic Mastering, Portland Oregon. Artwork and illustrations by Emily Hyde. Photo art reproduction by Circle 23. Design by Johnny Pinkhouse. Another sizzling power blockfrom Menche. This time capturing the intense force of various Pacific Northgwest waterfalls to create a mind blowing audio sculpture. This single track slices itsway through the sonic spectrum over 39 minutes of high end processing. One hell of beauty if beast! Packaged in stunning, almost disturbing artwork. This vinyl edition differs from the previous CD edition and features the original Alpha Mix of Kataract." [label info]
www.editionsmego.com
|
2010 |
€15.00 |
|
| MENS, RADBOUD & MATTHIJS KOUW |
2 |
LP |
February 2017 Moving Furniture Records released “1”, the first LP by Radboud Mens and Matthijs Kouw. The album consists of two long drone tracks that make you forget music is a time-based art. Music that immerses you in a warm bath of frequencies that are evolving slowly around you, revealing you all sides and details of a sonic sculpture.
With this second release, which is simply titled “2”, Mens and Kouw continue their exploration of long-form drone. By using precisely tuned analogue synthesis, Mens and Kouw create a rich tapestry of drones and slowly changing environments. To the careless listener, nothing much seems to happen. However, an attentive ear will reveal a rich variety of resonances and sonic artefacts. Starting as deep and warm drone music both pieces gradually develop into a collage of textures and frequencies that are carefully moving in and out of the drone. This record is the second of a two-part album that was recorded live in the studio in December 2014, released in an edition of 300 LPs that are packaged in reversed sleeves and are provided with a digital download.
credits
released March 15, 2019
Music by Radboud Mens & Matthijs Kouw
Mastering by Jos Smolders at EARlabs
Artwork by Aldje van Meer
https://movingfurniturerecords.bandcamp.com/album/2
|
2019 |
€16.50 |
|
| MENUCK, EFRIM MANUEL |
Pissing Stars |
LP |
"Constellation Records beginnt das Jahr 2018 mit dem zweiten Soloalbum des GODSPEED YOU! BLACK EMPEROR und THEE SILVER MT. ZION Gründers EFRIM MANUEL MENUCK. „Pissing Stars“ ist der großartig intensive Nachfolger von „Plays High Gospel“ und das erste neue Material mit EFRIM als zentralem Songwriter und Sänger seit „Fuck Off Get Free We Pout Light On Everything“ seiner Chamber-Punk Band THEE SILVER MT. ZION von 2014. MENUCK genießt unter den Fans politischen Punks, Post-Rock und Avant-Noise-Anhängern Kultstatus und feiert mit „Pissing Stars“ ein Vierteljahrhundert musikalischen Ausdrucks ohne Kompromisse. Auf „Pissing Stars“ verschleudert MENUCK Giftpfeile, leidenschaftliche Salven und zerbrechliche Blüten und formt das Ganze zu noiselastigen Songs, die sich um maximalistische Electronics und Drones ranken, die von Synthie oder Gitarre umgesetzt und von klagendem, oft verfremdeten Gesang durchzogen werden. Das passende Narrativ kann nur jemand wie MENUCK liefern: „‘Pissing Stars‘ gründet sich auf die kurze Affäre der amerikanischen TV-Moderatorin Mary Hart mit Mohammed Khashoggy, dem Sohn eines saudischen Waffenhändlers. Ich weiß nicht, wie lange sie zusammen waren, ich erinnere mich daran, wie ich als verzweifelter Teenager darüber las. Ich wohnte zusammen mit zwei anderen verwahrlosten Kids und einem Haufen wilder Kätzchen in einem überfluteten Keller und hatte nichts zu essen. Diese seltsame Union – die blonde Frau aus dem Fernsehen und der reiche Saudi-Sohn mit seinem mörderischen Vater – blieb bei mir und beschäftigte mich drei Jahrzehnte lang. Diese Sprösslinge aus Tod und Selbstentfremdung – und Liebe. Dieses Album beschäftigt sich mit dem Ende ihrer Beziehung und der Art und Weise, wie bestimmte eigensinnige Lichter einfach weiterleuchten. Das Album wurde in den dunklen Ecken zwischen 2016 und 2017 aufgenommen, in verschiedenen Stadien der Ungemütlichkeit, mit einem porösen Herzen und einer klaren Mission. So, als würde man mit zwei Messern in den Händen auf einen Abgrund zulaufen und manisch lachen. Besiegt und voller Freude zugleich. Hier geht es um das Ende der Liebe und den Anfang der Liebe. Um das Ende des Staates und wie wir alle darunter gefangen sind."
This is an audiophile 180gram pressing in midnight ultra-black vinyl from Optimal (Germany) that comes in a 350gsm jacket with printed inner dust sleeve and 12"x19" art poster, all printed on uncoated matte papers and boards, all artwork by Menuc
efrimmanuelmenuck.bandcamp.com/album/pissing-stars
PISSING STARS is inspired by the brief romance of american television presenter MARY HART and MOHAMMED KHASHOGGI, the son of a saudi arms dealer. i don’t know how long their union endured, but i remember reading about them when i was a desperate teenager – there was something about their pairing that got caught in my head. i was living in a flooded basement with two other lost kids and a litter of feral kittens. we were all unfed. this strange intersection – the televisual blonde and the rich saudi kid with the murderous father; it got stuck in me like a mystery, like an illumination- this vulgar pairing that was also love. these privileged scions of death and self-alienation, but also love. i’ve carried it in me for 3 decades now, this obscure memory, and i return to it often, tracing its edges like a worn talisman. this record is about the dissolution of their relationship, and the way that certain stubborn lights endure. this record was made in dark corners between 2016 and 2017. a very rough pair of years, shot thru with fatigue, depression, despair, and too many cigarettes and too much booze. but also = the giddiness of enervation, and the strange liberation of being emptied – borne aloft and carried by the drift. the world continues its eternal collapsing, fires everywhere and everything drained of meaning. this record was made in various states of unease, with a brittle heart and a clear intent. like running towards a cliff with 2 swinging knives, roaring with an idiot grin. overcome and overjoyed. this record is about the end of love and the beginning of love. this record is about the dissolution of the state, and all of us trapped beneath, and the way that certain stubborn lights endure. – ExMxMx
|
2018 |
€23.00 |
|
| MERRELL, TODD / AIDAN BAKER / PATRICK JORDAN |
Nagual |
CD |
Verzaubernde Rausch-Drones und subtile Gitarren-Loops und Tupfer, ganz zart & betörend sensibel ist dieses Trio bei einer Aufnahme in HARTFORD, CT vorgegangen, die Teilnahme AIDAN BAKERs (NADJA) ist unüberhörbar. 600 Stück wurden aufgelegt und mit dem besonderen ARCHIVE-Artwork von SELDON HUNT ausgestattet.
"long playing ambient dronescape focusing the combined efforts of Todd Merrell on shortwave radio and electronics, Patrick Jordan on shortwave radio and processing and Aidan Baker (Nadja) on guitar. Recorded live in 04 in Hartford. Comes packed in heavy stock center open sleeve with environmental mirror image landscape artwork courtesy of Seldon Hunt. Pressing of 600 copies." [label info]
"... This live set finds Baker handling guitar duties, but you’d never know it from the sound, augmented by short wave radios, electronics, and various bits of processing, the sound here is deep and dark, a crumbling and epic expanse of rumbling shimmering low end. Roiling clouds of murky melodic fragments, distant swells, throbbing low end pulses, barely audible bits of static and washed out glitch. Very cinematic, if you were watching a film that was almost entirely dark, with just barely visible shifts in the various shades of black and grey. Lovely though, minimal and haunting. Think Coleclough, Chalk, Lustmord, that sort of ambient darkness.
But the second track is an entirely different beast. Simple guitar strums, minimal melodies, the strings struck softly, the metallic buzz and clang ringing out into the ether, some sort of underwater slow motion Fahey, smeared and soft and dark and dreamy.
The final half of the track, the guitar disappears completely, leaving streaks of feedback that sound like the cries of gulls, grinding slow motion slabs of shifting low end, whirling windlike whirs, almost like a manufactured nature recording.
The guitar returns for the third track, drifting gently, while the background noise builds into a slow motion wash of sound, the track culminating in a cloud of chimes and reverbed percussion, seasick swirls and struck steel strings, before slipping languidly into the final track, a lugubrious underwater crawl, all of the sounds muddy and indistinct, a sonar like ping buried way down in the mix, underneath it all a thick blanket of constant whirring drones, quite lovely.
Packaged in one of those cool, 6 panel, gatefold aRCHIVE
sleeves, glossy paper, super striking image of forest and clouds,
LIMITED TO 600 COPIES!!" [Aquarius Records]
www.archivecd.com
|
2007 |
€13.50 |
|
| MERZBOW |
Hyakki Echo |
HYBRID (CD+VINYL) |
"Brand new release from Merzbow, which sees a totally new direction for this true innovator. Whatever you may have expecting, this will surprise and thrill. With much more of a move towards free improvisation, than the more traditional psyched out extreme “noise” that you may have come to expect; this is a masterpiece in experimental music.
The format should surprise and intrigue too. One side is a 3 minute piece that is a vinyl record, the other a full length CD. The package comes with the necessary adaptor you need to play the vinyl side.
The set is packaged in a die cut digipac sleeve; all artwork is by Masami Akita. It is available in limited quantities and is bound to sell out very quickly."
www.dirterpromotions.com |
2017 |
€20.00 |
|
|
Hybrid Noisebloom |
do-LP |
Merzbow stands as the most important artist in noise music. The moniker of Japanese artist Masami Akita was born in Tokyo in 1979. Inspired by dadaism and surrealism, Akita took the name for his project from German artist Kurt Schwitters's pre-war architectural assemblage The Cathedral of Erotic Misery or Merzbau. Working in his home, he quickly gained notoriety as a purveyor of a musical genre composed solely of pure, unadulterated noise. Embracing technology and the machine, first in an absolutely analog way and then welcoming digital innovation, Merzbow broke boundaries and pushed toward new territories of the extreme, arriving at a sonic space of uncontaminated, straight noise that, from its base in Tokyo, has continued, now for over 40 years, to set the pace for the entire genre of noise.
When it comes to Japanese noise, few projects have pushed boundaries or risen to a more iconic status than Merzbow.
Hybrid Noisebloom, originally issued by Vinyl Communications on CD in 1997, is the latest in this trilling bread crumb trail. It is also the first time that this seminal document from Merzbow’s '90s period has ever appeared on vinyl.
Composed and performed on EMS and Moog Synthesizers, Theremin, Metal Devices, Noise Electronics, and Voice, all recorded at extreme volumes, Hybrid Noisebloom’s five tracks present a fascinating sonic assault, heavily driven by the presence of electronic sounds, played against the sparse interjections of Akita’s heavily processed vocals, that push toward new territories of the extreme, while subtly nodding toward historical gestures from the early years of the avant-garde.
A side opens with Plasma Birds comprising a series of banner that investigate timbral relationships, the fragmentation of melody, and abrasive, provocative noise - shifting from the sparse, airy, and restrained, to dance clusters of interplay and back again. Follows enclosed in just over ten minutes, Minotaurus, finding a strange middle ground between the intuitive logics of their instruments; synth and electronics taking on decidedly percussive approaches, while metal device’s fractured polyrhythms and beats often veer toward the presence of a notable tonality. B side is filled with a single long track, Mouse Of Superconcetion, formed by screeches and from swinging and chugging to stepped back and sparse combinations of rhythm and tone - moving from the lingering sensibilities of straight-ahead synth to radically out hard blow fire. Launching from a total wall of sound, C side track Neuro Electric Butterfly takes the listening on an endlessly surprising journey through its devices’ inner world, shifting between airy open passages that feature endless combinations of one or more effects, to furious moments of sonorous lashings where the sound falls in together in brilliant dialogical periods of conversant texture and psychedelic intervention. Closes The Imaginary Coversation Of Blue embedding bristling fragments, percolating tones, and poignant dissonances within a sweeping field of echoes rumbles and drones, taking sonic abstraction to startling heights.
All composed & performed by Masami Akita using EMS & Moog Synthesizer, Theremin, Metal Devices, Noise Electronics, Voice
Recorded & mixed at ZSF Produkt Studio, January - February 1997
Remastered by MA at Munemihouse Tokyo, 21 February 2021
Artworks by Masami Akita
https://urashima.bandcamp.com/album/hybrid-noisebloom
|
2022 |
€32.50 |
|
|
Animal Liberation-Until every Cage is empty |
CD |
Style: Japanese Noise. Coming in special matt-laminate digipak. Cold Spring proudly presents the ALL NEW studio album from MERZBOW. As a life-long campaigner of animal rights, Masami Akita has delivered a brutal assault on those that cage and murder animals. The new album is a 5 tracks (49 mins) of total noise assault that only the King of Japanese Noise can provide.
"There is a theory that Covid-19 broke out from the poor conditioned wet markets where live animals are sold. If there were no poultry farms, there would be no mass destruction of chickens due to the spread of bird flu. Human beings' cruelty to animals, animal abuse and species discrimination are all adding up to a disaster for mankind and the whole planet. The pandemic is an opportunity to reflect on the relationship between animals and humans. Veganism is the future for humanity" (Masami Akita, 2021). The artwork is a reflection of the animal rights and anarcho-punk movements of the 80's. Proceeds from this release will benefit animal rights charities."
https://coldspring.bandcamp.com/album/animal-liberation-until-every-cage-is-empty-csr314cd
|
2022 |
€12.50 |
|
| |
Cloud Cock OO Grand |
do-LP |
"Merzbow came roaring onto the Tokyo scene in 1979. To this day, the project remains one of the most prolific and aggressively forward-thinking acts in experimental music. Initially a duo of Masami Akita and Kiyoshi Mizutani, before settling as the moniker of Akita alone, the project took its name from German artist Kurt Schwitters' pre-war architectural assemblage, The Cathedral of Erotic Misery or Merzbau, and quickly set out to challenge entrenched notions of what music could be. Embracing technology and the machine, even in its earliest iterations, Merzbow broke boundaries and pushed toward new territories of the extreme, arriving at an unadulterated manifestation of sonic expression that has continued across the last 40 years, setting the pace for the entire genre of noise along the way. Few projects have pushed boundaries, risen to a more iconic status, or been as influential over the same period of time.
Recorded in Holland during the autumn of 1989 and originally issued as an highly limited edition CD by ZSF Produkt in 1990, “Cloud Cock OO Grand” was the first of a series of albums to indicate a change in creative direction that Merzbow would following over the coming decade. During the European tour during which these recordings were laid to tape, Akita was only able to transport simple, portable gear. Rising to the challenge, these limitations led to the development of a signature form of harsh noise, heavily influenced by death metal and grindcore, that would come to define much of his early '90s sound. “Cloud Cock OO Grand” was the first of this shift to be sent into a wider realm.
Comprising five individual compositions - three being side-long - “Cloud Cock OO Grand” was composed and performed by Akita on synthesizers, metal devices, noise electronics, and string instruments, all recorded at the extreme volumes for which Merzbow has always gained a unique sense of distinction. Despite being enthralling sonic assault, driven by the frenetic presence of electronic sounds, across the length of the album’s four sides it is hard not to be captivated by a greater sense of dynamics and space within the artist’s work, resulting from sparse acoustic interjections played against Akita’s heavily processed strings. The result, while no less intense of demanding than anything before or since, reveals a surprising sense of intimacy and consideration that’s often not easily observed within the field of noise.
Easily among the most captivating gestures within Merbow’s sprawling catalog, pushing endlessly forward while subtly nodding toward historical gestures from the early years of the avant-garde, Urashima beautiful double LP edition of “Cloud Cock OO Grand” marks this seminal and long unavailable album’s first time over on vinyl.
Issued in a very limited pressing of 299 copies, with cover that faithfully reproduces the original CD artwork and an A2 poster with an original 1990 draw by Masami Akita, it’s hard to recommend enough."
https://urashima.bandcamp.com/album/cloud-cock-oo-grand
|
2023 |
€34.00 |
|
| MERZBOW + GENESIS BREYER P-ORRIDGE |
A Perfect Pain |
LP |
The incredible power created by GENESIS BREYER P-ORRIDGE (Psychic TV / Throbbing Gristle) - the founding father of the Industrial world, and MERZBOW - the undisputed king of Japanese Noise. Recorded exclusively for Cold Spring, with five brand new tracks, "A Perfect Pain" has been hailed as an important album and an extremely successful collaboration.
Remastered for both CD and vinyl by The Cage Studios.
First edition on vinyl (180g), third edition of CD (first time in digipak) - OUT 25th OCTOBER
Standard Black Vinyl
Limited Flaxen Gold Coloured Vinyl x 300 copies (via Cold Spring only).
"a long overdue collaboration from these two living legends of experimental music... This disc will scare the shit out of most people... it's almost a modern day take on the simultaneous beauty/brutality aesthetic
of Throbbing Gristle" (Brainwashed)
"…easily the finest material Merzbow has made in
some time... pure data trash of the highest quality…" (The Wire).
Electronics, Drum Machine, Effects - Masami Akita
Producer - Genesis Breyer P-Orridge
Engineer - Bryin Dall
Editing - Dave Kirby
Original Artwork - Charles Acethorpe, Richard Crónín
Original Design, Layout - Associated Distortion
Photography of Genesis Breyer P-Orridge - Francis Polk
2018 reinterpretation and layout - Abby Helasdottir
2018 remastering - Martin Bowes, Cage Studios
|
2018 |
€22.00 |
|
| MERZOUGA |
De Rerum Natura / Dance of the Elements |
CD |
Sound composition by Merzouga – inspired by Lucretius’ philosophical poem.
On the Nature of Things
In his poem De Rerum Natura (On the Nature of Things) the Roman poet/philosopher Lucretius (c. 99 – c. 55 BCE) explores Epicurean physics and philosophy through richly poetic language and metaphors, as he presents an entire cosmology: based on the principles of atomism, Lucretius tries to explain the nature of the mind and soul, and the development of the world. While some of his ideas have been proven scientifically wrong, some of his thoughts seem strikingly reasonable even for the contemporary reader.
Lucretius believes that, while everything in the universe is finite, the smallest elements (“The First Beginnings of Things”) themselves are eternal – moving through the void they collide, create forms and dissolve, just to collide again in order to create new forms.
For Lucretius life is a beautiful chance-driven Dance of the Elements. His ideas, popular and highly controversial in Roman intellectual circles, were soon to be banned and eventually forgotten during the rise of Christianity.
The poem was by chance rediscovered in the 15th century by the famous humanist Poggio Bracciolini (1380-1459), most likely in the scriptorium of a monastery in Fulda, Germany. During the renaissance it eventually became a foundation stone of modern western philosophy and natural sciences.
Translating the Book into Sound
When Soila Valkama, the ars acustica-editor of Finnish broadcaster YLEISRADIO commissioned us to produce a sound-composition, we suggested to her a playful attempt of a sonic translation of Lucretius’ ideas.
The listener embarks on a journey in which a universe of sound unfolds.
Smallest sonic elements float through space, dark and chaotic, merge to create concrete forms, transform into different consistencies, from water to wind, from stone to dust, steadily in motion in a constant process of becoming and dissolving.
Late in the piece the sounds of mammals and humans arrive, blurring again into a palimpsest-like structure when the circle is closing.
We used field-recordings of nature, as an analogue for the “concrete forms” that are created by the colliding elements, but also concrete musical structures: fragments of melodies, tonalities, and rhythmic patterns in contrast to the more abstract material.
Intertwined with the sound-composition we encounter fragments of Lucretius’ text in English and in Latin, carefully adapted and translated by Janko, and spoken by his brother, the actor Stefko Hanushevsky.
The radio-piece consists of six chapters, transposing the structure of Lucretius’ six books into the compositional structure.
There is no delay, no rest to interrupt the flow, we can constantly feel it, and we can see things, smell them, and perceive their sound. –
Lucretius, De Rerum Natura, Book VI: 932+933
1 Track (38′22″)
CD (500 copies)
Credits
Merzouga is:
Janko Hanushevsky (prepared electric bass) and Eva Poepplein (electronics)
Speaker: Stefko Hanushevsky
Translations: Janko Hanushevsky
Editor: Soila Valkama
Commissioned and produced by YLEISRADIO/Finland.
Artwork: U9 – visuelle Allianz
The artwork was created by setting up paper in the garden and applying pens and
brushes to the branches of a tree. All the traces of ink on the paper were created
by the wind moving the tree, thus providing all the scource-material for the album’s
entire artwork.
Merzouga would like to thank
Soila Valkama & YLE, Stefko Hanushevsky, Lasse-Marc Riek & Roland Etzin, Leopold Lenzgeiger, Sabine Kuechler, Markus Jarchow, Bohdan & Ewa Hanushevsky, and Felix & Waltraud Poepplein for their continuous support.
This release was made possible by the generous support of SKE-Fonds.
www.gruenrekorder.de/?page_id=16867 |
2019 |
€13.00 |
|
| META MEAT |
Voices |
7inch |
META MEAT keeps adventuring on its peculiar unique path, pursuing its journey further in its self-invented world. step by step, stone by stone, record after record, meta meat visits some strange imaginary lands which are inhabited by odd rituals and enlivened with vivid dances.
this first 7" vinyl ep for ant-zen is a new chapter built again on mm’s dominant percussive instrumental abilities, using the tones and colours of varied hand drums, elaborating intricate rhythmic combinations which remain the source of their research and the foundation of their compositions.
this time in this ep called 'voices', each one of the four musical pieces is featuring lead vocal samples of different characters, issued from various cultures of our world. some of these voices articulate the clamour of rebellion, some whisper the poetry of nature, other evoke a spiritual quest or chant their ancient tales…
with this new release, META MEAT is giving voice and space to some authentic inspiring voices, no longer muzzled or invisible.
META MEAT. hue [official video]
youtu.be/BfsvXY_lge0
somekilos: hand percussions, drums, electronic
phil von: electronic, sampling, field recordings, production
mixed at skamp studio vilnius
mastered by norscq
photos by thekla winzen
model: jules is jules
artwork by stefan alt
limited to 150 copies, black 7" vinyl, cardboard sleeve with full colour & glossy uv print. incl. 4 art prints. digital download-code
https://ant-zen.bandcamp.com/album/voices
|
2024 |
€18.00 |
|
| MGR (MUSTARD GAS AND ROSES) |
Wavering on the Cresting Heft |
LP |
"Nach "Nova Lux" und der letztjährigen "Impromptu"-Kollaboration mit SirDSS nun das nächste Soloalbum von Michael Gallagher von Isis. Gleich vorweg, es gefällt mir ausgesprochen gut und weit besser wie das Debut-Album. Gallagher schafft es diesmal, die 6 enthaltenen Stücke homogen, kompakt und natürlich aussehen zu lassen, was sicher daran liegt, dass er nicht mehr zwanghaft versucht, die Verbindung zu Isis zu negieren bzw. ganz rauszuhalten. Klar, die Grundstruktur und Herangehensweise ist immer noch die gleiche wie auf "Nova Lux", allerdings lässt Mike Gallagher diesmal auch die Einflüsse von seiner Arbeit bei Isis zu. Auch die streckenweise härtere, direktere Gangart auf "Wavering On The Cresting Heft" tut gut. Den Grundton bilden immer noch sanfte, weit ausufernde und tragende Dronen, mit Mikes hellem, wie ein Lichtblick über der ganzen einsamen Melancholie liegenden, akustischem Gitarrenspiel. Also, insgesamt eine Weiterentwicklung zu mehr tonaler Struktur mit stärkeren Verzerrungen hin und wieder. Anstatt epischem Dauer-Ambient Geplänkel, sind die Stücke auf "Wavering On The Cresting Heft" strukturell klarer und wirken mehr wie einzelne, in sich geschlossene Songs. Das Artwork ist unspektakulär-melancholisch. Alle Fotografien stammen von Gallagher selbst." [Creative-Eclipse]
www.conspiracyrecords.com
|
2008 |
€13.00 |
|
| MIEVILLE, EMMANUEL |
Magnetic fields and shrouded flux |
mCD-R |
Harsh field recording ambience? All sounds here seem to be derived from field recordings, but were then processed heavily.. this resulted into two quite intense pieces, with lots of details & great effects...rarely water sounded that harsh!
"french composer/phonographer mixing musique concrete, field recordings and drones for two haunting pieces. full-colour printed 3"
cd-r with artwork by delphine ancelle-b." [label info]
www.taalem.com
|
2007 |
€5.00 |
|
| MNORTHAM / BRUME & TBC |
Steps towards the hairy night / Strandwasser Ozean Remix |
CD-R |
Nice release on the TBC-Label WACHSENDER PROZESS from Hamburg which comes with an archaic looking handmade papyros-paper artwork. MICHAEL NORTHAM has a long piece here mixing long drones with sounds from the Zion National Park. BRUME & TBC collaborate on different pieces and sound like being just under the surface of water, hissy and mushy... |
2004 |
€10.00 |
|
| MODELL, ROD & MICHAEL MANTRA |
Radio Fore |
CD |
"The long awawited reissue of this classic album originally released by AMPLEXUS in 2003. Sold out for years, finally you have the choice to hear these fabolous "suspended-sounds" from two masters of ambient music. Published in jewel box with totally restored artwork. A must!!!" [label info]
www.silentes.net
|
2009 |
€13.00 |
|
| MOLJEBKA PVLSE |
Borrowed Scenery |
LP |
Sweden's Moljebka Pvlse (Mathias Josefson) will be known to many for releases on labels such as Cold Meat Industry, Cyclic Law, Drone Records, and Reverse Alignment. During the pandemic, Josefson used his own studio as a vehicle to traverse through virtual field recordings, composing abstract environments and discovering distant lands. The map of these borrowed places is written in three long compositions, complementing each other like the topography of neighbouring 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", presented here (41 mins), and "Borrowed Scenery: Appearance" (21 mins), introducing the atmosphere of the longplay, respectively. Special limited edition of 150 copies, with MCD in 5" card sleeve, both editions with slightly different artwork. Comes with digital download code.
https://zoharum.bandcamp.com/album/borrowed-scenery |
2022 |
€20.00 |
|
| MONOCUBE |
Substratum |
CD |
"Monocube’s new album since 2016’s “The Rituals”, a suite of wide landscapes painted in modular synth and stringed instruments.
A spellbinding new album for Cyclic Law and Malignant Records, employing eight long-form pieces for the most expansive solo release by Monocube to date. Taking into account its haunting and elegiac quality - the result of no less than two years assiduous work it is elevated to the another level, presenting an analog purification of Monocube’s overtones.
Purposefully evoking the feelings which are usually avoided in more scholastic examples of dark and drone music, Monocube voices the soul, while improvising on modular synth and stringed instruments, intimates a transcendental quality and approaches to the shape and density, delicacy and relation to transient and everlasting subjects, reaching the depth that was not present before.
The outcome is considered as a reflection of non-verbal communication: from the flowing blossoms of Sehnsucht to the palsied depth of Prima Materia to the stirring crescendo of Luft and through the burned-out distortions of Visiones V to the 10 minute+ misty-eyed panorama of The Opposite Of Nadir following the helical torques and instilled eschatological atmosphere of Opaque, tempting the longing souls to the valerian vortex of Action In Distans and consummating with ultra-wide Limen. An alchemy of mysterious spirit.
The mixed media artwork employs analog techniques, as cameraless photography and illustrations, which spawn silhouettes and haunting figures, recurring entropic motifs, a transition into worlds within worlds, coaxed out of gelatine silver prints. Enchanting, often deeply mysterious and disquieted is the visual part of Substratum created by sukkeret.og.pepper studio in Berlin."
https://monocube.bandcamp.com/album/substratum
##############################################
Neben seiner Teilnahme an der Kollaboration mit Anemone Tube und Jarl zum Jahreszeitenzyklus von Pieter Brueghel dem Älteren hat der ukrainische Ambientmusiker Andrzej Gladuszewski alias Monocube dieses Jahr gleich noch einen Nachfolger des vor drei Jahren erschienenen Debütalbums “The Rituals” herausgebracht. Atmosphärisch intensiver und kompositorisch ausgereifter wirkt das unter punktueller Unterstützung von Antti Litmanen (Arktau Eos) und Frederic Arbour (Visions) entstandene “Substratum” schon auf den ersten Eindruck, und doch knüpft das Werk stilistisch deutlich an seinen Vorgänger an, dessen Opener “Visiones” gleich in einem neuen Track fortgesetzt wird.
Modulare Synthies und an ausgesuchten Stellen einmontierte Klänge verschiedener Saiteninstrumente bilden das Fundament der acht dröhnenden Klangflächen, deren düster-harmonische Schwere zum passiven Träumen verführen kann und so ein Grund sein mag, die unterschwellige Dynamik dieser Musik erst nach und nach mitzubekommen. Doch auch nachdem man sich an die Stimmung der Musik akklimatisiert hat, bleibt diese in ihrem Wesen diffus.
Wer auf die Macht der Worte vertraut, kann durch die Tracktitel zumindest etwas Orientierung in den abstrakten Klanglandschaften bekommen. Von der Sehnsucht erzählen sie, die sich unter verhalltem Rauschen und plötzlich losbrechenden Noisebrocken etwas Schmerzhaftes offenbart und nach Veränderung schreit. Vom Element Luft und der Prima Materia, der aristotelischen Urmatierie, aus der alles Irdische hervorgegangen ist, künden sie, und lassen so einen kosmogonischen Hintergrund erahnen. Noch erhabener wirken so die Echos von angedeuteten Choralgesängen, ebenso die melodischen Synthietupfer, die irgendwann in akustische Klagelaute übergehen und an Orpheus in der Unterwelt denken lassen. Am Ende steht mit dem Limen die Schwelle, die die Grenze zum Zustand der Vollendung markiert.
Letztlich drehen sich all diese Dinge um ein Schöpferisches, um eine Welt, die im Entstehen begriffen ist und die Musik, dem Titel entsprechend, zum Substrat macht. Die oft langsame und subtile Veränderlichkeit von Klangfarben, Harmonien und dezenten Rhythmen schärfen die Wahrnehmung und lassen die Abfolge von beunruhigendem Vibrieren, entspanntem kosmischen Bimmeln, fast schrillen bläserartigen Sounds und all den anderen Gegensätzen, ohne die laut William Blake kein Vorwärtsdrang möglich ist, noch deutlicher auf dem dunklen Nährboden aufscheinen. [U.S./African Paper] |
2019 |
€13.00 |
|
| MONOS (DARREN TATE & COLIN POTTER) |
Generators |
do-CD |
DARREN TATE und COLIN POTTER wieder in Aktion, zwei sehr ruhig schwingende Synth-Drone-tracks, angereichert mit „konkreten“ Sounds (Wasserkocher, Radio) von TATE, die sich aber perfekt und niemals störend ins atmosphärische Klangbild einfügen und einen immer grösseren Sog aufbauen - aber so langsam, dass man selbst in ein Zeitlupen-Bewusstsein verfallen kann...
“Long announced new drone release by Colin Potter & Darren Tate. This double album consists of two different works recorded between 2002-2003 at IC studio. Disc one features 3 tracks that are loosely based on processed field recordings in the 'classic' Monos style, exploring internal spaces. Disc two has one long track of arganic & electronic tones which combine to give a dense cloud of flowing sound. Additionally there will be a special mail order only edition incl. an extra CDR, containing a track made up of components from both discs, which produces a completely different result. Full colour digisleeve. Artwork by Darren Tate & Helen Potter. Design by Jonathan Coleclough. First edition of 600 copies. Total playing time: 118:22 min.” [press release]
|
2005 |
€18.00 |
|
| MOORE, STEPHAN |
To build a field |
CD |
"Stephan Moore is a composer, audio artist, and sound designer in New York City. He has graduated from from Rensselaer Polytechnic Institute, Western Michigan University, and Interlochen Arts Academy. His creative work centers around the collection and use of real-world sound, the creation and perception of sonic environments, and technological manifestations of improvisation and interactivity.
Recent performances and installation artworks make use of a large multi-channel array of his hemispherical speakers. He performs regularly as half of the electronic duo Evidence, and with a variety of musicians, live-video artists, and dancers. He has created custom music software for a number of composers and artists, and has taught courses in sound art and electronic music at Maryland Institute College of Art, Peabody Conservatory, Massachusetts College of Art, Rensselaer Polytechnic Institute, and Simon's Rock College of Bard.
He is currently the Sound Supervisor of the Merce Cunningham Dance Company." [general info about the artist / Deep Listening site]
Stephan Moore has spent the last five years touring with the Merce Cunningham Dance Company as a core member of their live band, alongside such notables as Christian Wolff, Takehisa Kosugi, David Behrman, John King, and William Winant. At the same time, he has been collaborating with a
number of younger choreographers to create sound scores for their performance works. To Build A Field collects the best of these pieces, drawn from six of his commissions by four very different choreographers. The CD's title refers to Moore's view of his role in these collaborations: designing and executing sonic structures that define the emotional and rhythmic topography of time. Each track negotiates a balance between acoustic sound sources and electronics, live performance and studio composition, and human vs. algorithmic control of sound materials. Time is continually bent into new
shapes, challenging the listener, and his collaborators, to think beyond the easy comforts of a regular tempo, and confront rhythm as texture instead of a reliable grid.
"Brooklyn-based sound artist Stephan Moore's recent musical work centers around the collection and use of real-world sound, the creation and perception of sonic environments, and technological manifestations of improvisation and interactivity. He develops his own performance software and builds point-source loudspeakers for use in his performances and sound installation work. His current ongoing collaborations include the Xenolinguistics performance project with visionary video artist Diana Reed Slattery, projects with choreographers Yanira Castro and Kimberly Young and performance artist Kyle DeCamp, sound design for the Nerve Tank theater collective, and the performing/recording duo Evidence with sound artist Scott Smallwood. He curates a concert series at the Merce Cunningham Dance Studio called Experiments in the Studio, and co-curates an annual month-long Floating Points festival of performances and sound installations at the ISSUE Project Room in Brooklyn, pairing the permanent sixteen-channel installation of his Hemisphere speakers there with diverse artists. Moore has been commissioned to create sound installations and performances for a number of dance companies and site-specific venues. He has been awarded residencies by Hunter College, the Experimental Television Center and Wave Farm for his work in music and new technology. His performance and exhibition credits include Tonic (NYC), Axiom Gallery (Boston), Zeitgeist Gallery (Boston), Deep Listening Space (Kingston, NY), ffmup (Princeton, NJ), Massachusetts College of Art (Boston), Yale University, Princeton University, The Tank (NYC), Roulette (NYC), the Music and Alternative and X-Disciplinary Approaches in Sound Festival (Sheffield, UK), Sound Practice (Dartington, UK), Music Without Walls? (Leister, UK), Disjecta (Portland, Oregon), Warehouse 23 (Boston), Issue Project Room (Brooklyn), The Chocolate Factory (Queens), ACM/Siggraph, International Conference on Musical Perception and Cognition, International Computer Music Conference, Society for Electro-Acoustic Music in the United States, the Acoustical Society of America's semiannual meetings, American Theater in Higher Education's annual conference, International Society for Electronic Arts, World Forum for Acoustic Ecology, and the Burning Man Festival, among many others. As an improviser and musician, he has appeared on stage with John Paul Jones, Pauline Oliveros, Alex Waterman, Keith Rowe, Michael Haleta, MV Carbon, Andrea Parkins, Zach Layton, Troy Pohl, Curtis Bahn, David Linton, Mikel Rouse, Maria Chavez, Newton Armstrong, Seth Cluett, Ikue Mori, Kenta Nagai, Larry Polansky, Jesse Stiles and Joan La Barbara, among others." [label info]
www.deeplistening.org
www.deeplistening.org
|
2010 |
€14.00 |
|
| MOTHRA |
Doom Engine |
LP |
"First time on vinyl for this cult album from Japanese Noise / Death Industrial / junk noise group MOTHRA: Jun-ichi Takahashi (Screloma), Masahiko Okubo (Linekraft / Oozepus), Fumihiro Kojima, and Masahito Nozu.
Harsh noise, rhythmic death industrial and full of Industrial junk percussion, "Doom Engine" was created using gas tanks, iron plates, junk metal, heavy bass, distorted / screamed vocals, and psychedelic sound imagery.
For fans of: early Einsturzende Neubauten / early Test Dept, Kollaps, classic German Death Industrial, but with a distinct Japanese edge.
New artwork by RSJS. Ltd x 400 copies on 180gm vinyl in a 350gsm sleeve.
Jun-Ichi Takahashi: Metal Junks
Masahito Nozu: Drums, Metal Junks
Fumihiro Kojima: Electronics
Masahiko Okubo: Voice, Bass
Mastered by Martin Bowes
Graphic Design: Abby Helasdottir
Cover Photography: RSJS (Insta: @Rsforkingjs)
https://coldspring.bandcamp.com/album/doom-engine-csr284lp
|
2020 |
€20.00 |
|
| MOTLAND, STINE JANVIN |
Fake Synthetic Music |
do-LP |
"Vocalist, performer and sound artist Stine Janvin works with the extensive flexibility of her instrument of the voice, and the ways in which it can be disconnected from its natural, human connotations. Created for variable spaces from theatres, to clubs and galleries, the backbone of Janvin’s projects focus on the physical aspects of sound, and potential dualities of the natural versus artificial, organic/synthetic, and minimal/dramatic.
Fake Synthetic Music is Stine Janvin’s latest live performance for voice, echo, lights and spatial distribution. The concept was created to present a full-body physical and ambient experience with the frequency range of her voice. Inspired by past and present producers of architectural electronic music, Janvin presents a new take on ‘deconstructed rave’ by exploring both sonic and optical illusions, otoacoustic emissions and minimal melodic sequences in reference to pop, techno and trance.
The release introduces a recorded version of her ‘fake synthetic material’, and through her ongoing live performances, she continues to work between the music and art scenes, developing further her methodology of imitation and resonance through audio visual concepts.
The tracks on Fake Synthetic Music reflect the concept of sonic illusions and Janvin’s use of the voice as a sound source. “…I wanted to explore how I could vocalise in a way that would combine architectural sound with dance floor sequences.” she says. Each track is based on a different take on these ideas, some being pure studio production, using only her vocal archive of sustained notes, chopped up into innumerable pieces of different lengths, and re-attached. Tracks, such as ‘Like Right Now’ and ‘Like Last Night’ are examples of live material converted to a recorded format, keeping the simplicity of the direct voice signal through a digital delay effect with no post-production processing.
The album is mastered by Rashad Becker, featuring photography by Camille Blake and artwork by Bill Kouligas."
|
2019 |
€28.00 |
|
| MOUCHOIR ETANCHE (=BLACK TO COMM) |
Kommunique Zero |
pic-12inch |
"An end and a new beginning. Kommuniqué Zéro is the debut outing of new Black To Comm related entity Mouchoir Ètanche. And it is the final release in Dekorder's 10-Year Anniversary hybrid-vinyl series (a mere seven years too late). Combining real and fake acoustic instrumentation, sampling, field recordings, and excessive yet inaudible post production this is a powerful statement of intent. Influences are ranging from (French) classical and opera to the anecdotical compositions of Luc Ferrari, Chinese opera, sacred music, collage, and free improvisation. Marc Richter records as Black To Comm for Thrill Jockey, Type, and Dekorder and as Jemh Circs for his own Cellule 75 imprint. He also produced soundtracks and acousmatic multichannel installations for institutions such as INA GRM Paris, ZKM Karlsruhe, and Kunstverein Hamburg. The Dekorder 10-Year Anniversary hybrid-vinyl series so far included LPs by Pye Corner Audio, Excepter, Experimental Audio Research, Vindicatrix, Kemiallysät Ystävät, Ensemble Economique, Alien Radio, Black To Comm, and Le Révélateur. Music and artwork by Marc Richter. Richard Youngs: counting. Mastering by Rashad Becker Hybrid-vinyl: picture-disc on one side (no music), black vinyl on the other (music); edition of 165."
https://blacktocomm.bandcamp.com/album/kommuniqu-z-ro
|
2020 |
€16.50 |
|
| MSBR |
Structured Suicide |
LP |
MSBR (Molten Salt Breeder Reactor), aka Koji Tano, was one of the most respected noise artists to arise from Japan's exciting noise/experimental music scene of the 1990s. Much of his material was self-released on his own label, the astounding MSBR Records, which was dedicated to the production of limited-edition releases with incredible artwork. MSBR present a music elaborated with previously chosen source of sounds, whose origins are either naturel or artificial, with use of Korg guitar synthesizer and some effects, working in analog sounds. Oscillating between grappling electro noise (as he describes his musical style) and pure noise, the really surprising quality of the sound research leads to a tremendous kind of noise-texture.
After his debut LP and a lathe cut seven-inch, Structured Suicide is third MSBR release and first on tape in amazing package as everything other release by artist. The long track that occupies the entire A side of the cassette and the first track of the B side of over a quarter of an hour, are filled with excellent harsh noise with strong influences of concrete and electroacoustic music, deep and calmer rumble and ambient effluence. Structured Suicide is a terrific undertaking into the wickedness of mechanized clatter as a foreboding, consuming pollution, the unrelenting and ever-building storm of machines slowly lulling the living into bleak states of masochistic artificiality. This is the classic sound of MSBR, which envelops you with its texture of noise scales, suffocating and enthralling, without an immediate impact, but which then, at its harshest, hits you with devastating force! The other two quite short tracks that close the album are less conventional and show how much the artist wants to experiment, without closing himself in a pre-packaged genre.
Vinyl comes in only 199 copies with cover that faithfully reproduces the style of original art work, with vinyl labels that replicates inlay tape card. An awesome artefact of early 1990s Japan noise music, resting at the borders of electroacoustic, Urashima’s long awaited, first ever vinyl reissue of Koji Tano’s epoch-making album, 'Structured Suicide', emerges 28 years later as a stunning testament to the importance of the creative expansion to which it belongs. Absolutely essential on every count!
https://urashima.bandcamp.com/album/structured-suicide
|
2021 |
€21.50 |
|
| MUHD |
Dilogia |
CD |
Muhd is Samuel Vaney (Fargue, Cortez, Consor) and close collaborator of Dehn Sora / Treha Sektori. “Dilogia”, his first album, sees for the first time a remastered official CD release after its initial output in 2014 as a limited Cassette. A study of contrasts within saturated, nostalgic and heart wrenching ambient melodies and pulsing passages. A voyage through fog, dreams, loss and inertia. Artwork by Dehn Sora.
Edition of 300 copies in 6 panel Digisleeve. 6 Tracks. Running Time 39:26 |
2021 |
€13.00 |
|
| 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 |
What are the Roots that clutch |
CD |
"It was a cavernous tone that broadcast from a ventilator duct that inspired Patrick McGinley to begin collecting field recordings and working them into his slow-arc compositions. At the time when he heard that particular tone in that particular city at that particular time, he had no gear to recording device on hand. Over the next fifteen years (and counting) McGinley has eased into a peripatetic lifestyle, wandering the European countryside and forests (but never straying too far from the thrum and spark of civilization) in search of the same epiphany with his head rattled to the sound of a cavernous air duct.
Around 1996, McGinley adopted the moniker Murmer for his compositional work; and though his work often steps into the quieter realm of sound construction, much of his field recordings and resultant compositions privilege interference and disturbances that occur within any given sound ecology. Those sounds could be the elusive tone from that ventilator, the polyrhythmic chorus of chirping frogs, the abstracted roar from an Arctic wind tearing across the Black Sea, or the metallic skree from a bowed antenna perched atop a Soviet-era observatory. What Are The Roots That Clutch marks McGinley's first full album in nearly 5 years, but it marks an elegant continuation of his previous album We Share A Shadow. The five chapters of this album can't easily be associated with any specific location; instead McGinley overlaps and crosshatches his field recordings and abstractions into acousmatic passages with ghostly, half-melodic qualities. Even the two unprocessed recordings of the album are impossibly complex in their accretions of sound. McGinley's composed pieces embrace lithe, mysterious drones whose mossy, damp atmosphere perfectly situate with tactile crunches, tactile events, and signal noise generation. Eels and leaches would not be out of place in such an environment; but the subaquatic murk snaps into a hallowed manifestation of ritualized minimalism at the album's finale -- one that LaMonte Young and Angus Maclise might have conjured in 1968 with clattering percussive elements and a hypnotic blur of harmonic drone.
What Are The Roots That Clutch is limited to 400 copies and comes housed with letterpress artwork." [label info]
www.helenscarsdale.com
"Patrick McGinley just carries on. Working as Murmer since 1996 he has a strong love for the world of field recordings and electronics. Since quite some time now he lives in Estonia and walks the woods to tape his sounds, takes them home and then transforms them in whatever mysterious way. Five long pieces, from mere six minutes to eighteen minutes. The two pieces that stay under ten minutes are 'unmanipulated found sounds', the other three are 'composed from found sounds, found objects and live room feedback'. Its easy to tell the difference between one and the other. The 'pure' pieces are indeed pure pieces in which we hear the obscure sounds of motors, ventilators, or otherwise objects moved by say wind, while in the other three, McGinely chooses for a slow built up of events. A simple, single sound starts up and then slowly more and more sounds are added, sine wave like sounds leap slowly in and then at one point you'll notice that the entire piece seem to have changed and you
have a full on, minimal yet maximum output sound, such as for instance in the fifth (untitled) piece when the pots and pans in the kitchen start to vibrate and we have an interesting minimalist clutter piece, that is halfway between a drone piece and a Velvet Underground jam. Maybe that's where the real surprise of this release is, in that development of field recordings towards very interesting (and very good) minimalist, electronic music." [FdW/Vital Weekly]
"In looking at his discography alone, Patrick McGinley (aka Murmer) might not seem to be such a prolific artist; although he's certainly dedicated his entire existence to the pursuit of the field recording, its use in composition, and avant-garde sound practices in general. Each week, McGinley produces the ever enlightening Framework radio series dedicated to those very topics, starting out of Resonance FM in London with syndication now reaching several dozen adventurous radio stations across the globe. He's also active in curating a quarterly series of small cd-r editions of sound ecology, phonography, and field recording based sound art; and he also is an active participant in the Estonian avant-garde, as he's currently planted himself in the university city of Tartu. What Are The Roots That Clutch is his first full album in nearly seven years. Has it really been that long? That said, McGinley did work on a brilliant collaborative project with John Grzinich and Yannick Dauby, and he released a 3"cd-r for Taalem, both of which came out earlier this year in 2012. McGinley quips that he put the recordings aside to this record for well over a year, which may account in part for the delay; but ultimately, all of the recordings from Murmer are timeless. What Are The Roots That Clutch is no exception.
The field recordings that McGinley collects hedge towards disturbances in any given sound ecology, as found in the abrasive textures from a busted exhaust vent comingling with the Aeolian harmonics from the sustained gusts streaming down from the North Sea. McGinley does include two relatively unaltered field recordings (probably some minor filtering, but that's all) within the thoroughly abstracted and droned out compositions. One of these features a very eerie fundamental harmonic drone, obviously being activated by the wind and coupled with a glistening rattle and an unfurled flapping. The three elements here make for a surprisingly musical, if totally alien sounding piece that's akin to the Alan Lamb wire recordings. The album's 17 minute centerpiece is a slow building blur of industrial resonance and densely layered aquatic filigree that melts into chunks of clattering ice (it could be wood or glass... but ice is just so much more poetic to consider given the context); but the album's finale is where McGinley really gives us something to sink our teeth into. A comparatively harsh stutter of electrical abrasion builds up to a crescendo through water-tank rumblings and fire and / or water textures. At the peak, McGinley snaps to a downright psychedelic raga of back-masked belltones, harmonium drones, and percussive clatter that all comes together in a minimalist chorale on par with anything that Angus Maclise mustered in his dervishes and mantras.
As great as McGinley's last record was, What Are The Roots That Clutch might be even better. Handsomely packaged in letterpress artwork whose ochre-yellow hue matches the color of an Estonian farm house he's quite fond of. Limited to 400 copies." [Aquarius Rec.] |
2012 |
€13.00 |
|
| MURMURISTS |
I cannot tell you where I am until I love you |
CD |
"Two years in the making, I Cannot Tell You Where I am Until I Love You is the first release on Alrealon by Anthony Donovan. Combining spoken word with scenes culled from an involved admix of musique concrete, electro-acoustic and industrial, the album takes the listener through a complex series of dissociated communications, where attempts at congress and connection are stymied by language itself, with all signs failing to signify. An alienated love story of sorts is voiced by protagonists Bryan Lewis Saunders, Michael Holloway, Pixyblink, Jaan Patterson and Jo Pearson; each being asked, during the initial creative process, to perform their characterisations in isolation, with no inkling of the final project. In similar fashion, Donovan invited improvisers like Stephen Flinn, Antonio de Braga, Zafer Aracagok and Adrian Beentjes to react to certain concepts, instructions and suggestions. The results of these experiments were added to Donovan's own material, and worked into a single album-length, thematic composition. Donovan is an artist, musician, composer, improviser and writer based in England. He works solo, either as Murmurists or under his own name, and is associated with projects such as Destroyevsky, Ou_pi Golgotha.undead, Ampersand, the.clinamen and Spidey Agutter. An ardent collaborator, he has worked with the likes of John Zorn, Jochen Arbeit, Geoff Leigh, PAS, Steve Beresford and Damo Suzuki. Donovan co-curates the respected labels Classwar Karaoke and suRRism-Phonoethics with Jaan Patterson. His interests are all either obscure or opaque, but morally authentic.
credits
released September 2, 2013
Composition, libretto and artwork by Anthony Donovan
Individual performances improvised by individual performers
Voices: Bryan Lewis Saunders as Nibiru Haemosex, willing to relocate; Pixyblink as Soprano Gory (mid 30s, factual size); Michael Holloway as Ornette, East Mids (44) seeks similar; Jo Pearson as slavejaynie; Jaan Patterson as Breathing Steven; Zafer Aracagok as Yo-Yo o.n.o. and Ed Coyle as Ovum Anon (convincing) previously here as Fibonacci ALH84001 / Musicians: Adrian Beentjes, Antonio de Braga, Anthony Donovan, Stephen Evans, Stephen Flinn, Jack Martin, Neil Packer and Noel Taylor
Recorded in England, America, Germany, Turkey and Canada during 2007 – 2011
Mastered by Zafer Aracagok
Dedicated, with love and thanks, to Annie Dee" [label info]
www.alrealonmusique.com
|
2013 |
€13.00 |
|
| MUSLIMGAUZE |
Iranair Inflight Magazine |
CD |
“ Iran Air Inflight Magazine limited edition of 700 special package in a digipack. The title "Iran Air Inflight Magazine" refers to the Iranair civil aeroplane shut down by the American military. For the artwork we used found east European airforce propaganda material and the Iran air logo.This Muslimgauze will be hard to categorise: all is new material, pure Muslimgauze, percussive but not the dance style nor the ambient dub or distorted sound’s much more a new minimal repetitive and dry sound, most of the music is arranged percussion and some Arab text fragments appear every now and then. This album shows strong links with the first muslimgauze released on Bryn Jones own label limited Records, but also clearly shows his way of working shortly before he passed away.. Again Bryn has proven to make music in a clear Muslimgauze style which jumps across a wide variety in genres.” [press release] |
2003 |
€16.00 |
|
|
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 |
|
|
Farouk Enjineer |
do-LP |
2021 Remastered reissue with new artwork
Originally released in 1997 through Soleilmoon Recordings – sol 61 cd
Extremely intense Arabic dub noise music, designed to blow minds and loudspeakers.
All Tracks Written and Played by Muslimgauze
Artwork by Oleg Galay 2021
An Other Voices Records / Kontakt Audio co-operation release 2021
Cat.No. VOX 66 LP / AKT05
|
2021 |
€30.00 |
|
|
Khan Younis |
pic-LP |
• Brilliantly remastered picture LP/CD with new stunning artwork!
• Unique tribal dub-trance music influenced by arabic culture with a touch of post-industrial.
• Hypnotic rhythms mixed with with eastern vibes.
• Muslimgauze at it's best!
• Released as picture LP in gimmix cover limited to 500 copies
• Also available as black vinyl and CD
A1 taken from VA - 110 Below - No Sleeve Notes Required (110 Below, 1995)
A2 taken from VA - Assemblage Volume Two (Extreme, 1996)
A3 taken from Nonplace Urban Field – Golden Star (Incoming!, 1996)
B1 taken from VA - Le Sacre Du Printemps (Gonzo Circus, 1994)
B2 taken from VA - X-X Section (Extreme, 1991)
B3 taken from VA - Directions 2 (Direction Music, 1989)
https://othervoicesrecords.bandcamp.com/album/khan-younis-vox-58-mc |
2022 |
€29.50 |
|
| |
The Extreme Years 1990-1994 |
9 x LP BOX |
first time ever on vinyl
* with bonus songs
* unique sleeves with special spot UV and inside print
* wooden deluxe boxset with 9 vinyls, booklet, hand numbered certificate card
The English musician Bryn Jones, who preferred to call himself the band Muslimgauze during his artistic lifetime, was one of the most original and productive artists of the post-industrial scene. He has released an incredible amount of music in just 16 years. According to current estimates, there are at least 200 releases with a total of more than 1900 songs in circulation.
The Extreme Years 1990-1994 is a compilation of all Muslimgauze music, released on the Australian label Extreme Music between 1990 and 1994.
According to many critics and fans, this was a uniue and very special period in Bryn’s work, during which he grew from an amateur musician into an experienced sound sculptor.
Sadly, Bryn passed away in early 1999, aged just 38 years.
The box set is limited to 100 copies in golden vinyl and 222 copies in black vinyl.
It includes 9 vinyls in expanded 2LP versions with bonus songs of the 4 Extreme albums, as well as the Infidel LP with remixes done by another electronic music genious David Thrussell (Snog, Soma, Black Lung).
The Infidel LP will be exclusively available with the box set edition, where the 4 double albums will be available also as separate releases, beeing published one after the other during the first half of 2024, starting with Intifaxa 2LP.
The original tracks were perfectly remastered for this first time ever vinyl release and the new masters received high praise from the Extreme Music owner Roger Richards.
New sleeve designs were created by Oleg Galay, who is famous for his artworks for many Muslimgauze reissues.
The boxset contains the albums:
Intifaxa 2LP (AKT16)
United States of Islam 2LP (AKT17)
Zul’m 2LP (AKT18)
Citadel 2LP (AKT19)
Infidel LP (AKT20) – not available outside the box
as well as a LP sized 8 page booklet, a pro DJ slipmat and a hand numbered certificate card, all housed in a highest quality, heavy wooden box.
All album covers are made from extra heavy cardboard with deluxe spot UV finish and inside print.
The release date for the complete Extreme Years 1990-1994 boxset with all vinyls included is 1.01.2024
The separate double LPs will be released on these dates:
Intifaxa 2LP – 10.01.2024
United States of Islam 2LP – 1.03.2024
Zul’m 2LP – 1.05.2024
Citadel 2LP – 1.07.2024
https://kontaktaudio.bandcamp.com/merch/muslimgauze-the-extreme-years-9-lp-box-set-black-vinyl
https://www.kontaktaudio.com/shop/muslimgauze-the-extreme-years-1990-1994-deluxe-boxset |
2024 |
€199.00 |
|
| MUUR |
Bod |
CD |
Ambient ritual soundscapes that are profound and resonating, the music, artwork and concept behind BOD serves as an exploration and instalment of a new tradition of ritual and occult arts sourced from various ancient foundations. For this, a new culture with its own history, including a new language was constructed. The meaning created by MUUR is but one interpretation of the new tradition; it is of great importance for every listener to construct their own meaning from their experience. Because of this, neither MUUR, nor BOD is affiliated with any form of traditional Left Hand Path.
Edition of 500 copies in 4 panel Digisleeve. 1 Track. Running Time 51:16
https://www.cycliclaw.com/releases/muur-bod-cd-143rd-cycle
|
2019 |
€13.00 |
|
| MYSTIFIED & MARTYN SCHMIDT |
An Effort of Memory |
CD-R |
"ACE 1002: CD-R in folded cardboard sleeve
Many albums in the Attenuation Circuit Eco Series are split releases, but this hour-long composition is a true collaboration with 50 per cent input from both US-based drone artist Mystified and German poet and sound artist Martyn Schmidt. Starting with a poem, Schmidt’s voice morphs into pure vocal improvisation and breathing, both processed to amalgamate with Mystified’s acoustic drones. The result sounds at times like La Monte Young meeting Morton Feldman or like Norwegian experimental jazz singer Sidsel Endresen imitating deep bass strings with her voice.
Using feedback loops, the sound of whale bones played as percussion instruments on a Danish island, and jackhammers from local building sites, Schmidt „encoded, stored and retrieved“ (as the back cover says) lots of samples along with the music by Mystified he was reacting to - encoding, storing, retrieving being the three steps of memory as conceptualised by psychology. Connecting psychoacoustics back to his poetic roots, Schmidt also quotes (on the cover-artwork) the poem “Andenken” (Memory, or Remembrance) by Hölderlin. Memorising, forgetting, and recreating sounds and words turn out to be different sides of the artistic process, and the drone as a music that forever seems to dissolve and congeal, to ebb and flow, to move and stand still, seems a perfect sonic metaphor for this." [label info]
www.attenuationcircuit.de
"A collaboration by Thomas Park's project Mystified and Martyn Schmidt, a German poet and sound artist. There is a short spoken word prologue, a sixty-two minute piece of music, and short epilogue. In the main piece, 'An Effort Of Memory', uses, according to the information, 'feedback loops, the sound of whale bones as percussion instruments on a Danish island and jackhammers from local building sites', of which Schmidt made the samples which he combined with the music of Mystified, resulting in this hour long sound collage of all things atmospheric. Forget the word jackhammers (or building site), as there is nothing 'industrial' or loud about this. The music here is all atmospheric, dark in the full moon night, and everything flows into each other. The music may seem an amorphous mass of sounds mixed together, without real beginning or end, and perhaps (I might be wrong) without much compositional planning. More like a go with the flow kind of music, which is nothing strange in this particular musical underworld. None of the sound sources are easily recognized here, if at all, but all is transformed into a long, sustaining mass of atmospherics, and works very well. A cold day today, autumn has arrived it seems and this is the soundtrack for such seasonal weather. Nothing new, but it works very well." [FdW/Vital Weekly]
|
2013 |
€8.00 |
|
| 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 |
|
| MZ.412 /TREPANERINGSRITUALEN |
X Post Industriale / Rituals 2015 e.V. |
do-LP |
On October 31 2015 "MZ.412" and "TREPANERINGSRITUALEN" performed two memorable "Rituals" at OEC's label festival
the "X CONGRESSO POST INDUSTRIALE" at Club Kindergarten in Bologna - Italy.
Those sounds are finally fixed into solid and heavy vinyl for all those who will re-live those rituals in the next million of years!
Co-released by OEC & AnnapurnA
Gatefold-Cover plus Poster
Artwork by Thomas Eklund / TxRxP
Mastering by Henrik Bjorkk / Nordvargr
Black Vinyl limited to 500 copies.
Each vinyl side includes one long "Akt" (Ritual) by the 2 projects
Tracklist:
A. MZ. 412 - Akt I
B. MZ.412 - Akt II
C. T x R x P - Akt I
D. T x R x P - Akt II |
2017 |
€32.00 |
|
| NADJA |
Desire in Uneasiness |
CD |
".. Zwar gibt es auch hier wabernde, monotone Texturen galore, allerdings schieben sich hier auch immer wieder mal unterschwellig feine Melodien durch das Geräuschdickicht. Der übliche Shoegazer-Doom wird mit etwas feinfühligerem Ambient-Feeling zu brutalem, subtil variierenden Soundscapes verwoben. Wühlt innerlich ziemlich auf." [Creative-Eclipse]
"Following a wave of recent reissues and re-recorded versions of older CD-R titles, Desire In Uneasiness is an album of all new material from the acclaimed Canadian dreamsludge weavers Nadja. Five colossal jams of eternally-fuzzy, ethereal dirge that are powered by the interlocking bass guitars of Leah Buckareff and Aidan Baker, who set loose a wave of monstrous grinding bass riffs amidst a fog of beautiful, swirling electronic effects. Desire also marks the first Nadja album to feature a live drummer in place of the drum machine programming that has driven the band's previous recordings, and the difference in the band's sound is apparent from the first crushing beats of album opener 'Disambiguation'. The organic drumming here takes Nadja's music into new realms of spacious jazzy exploration, dubby rhythms and cavernous psychedelia, while also delivering some of the band's most grooving, crushing hypno-bliss yet.
Desire also stands out from the rest of the Nadja catalog for it's bizarre artwork that Aidan commisioned from his friend The Reverend Aitor. Aitor's bright, bold lines and textured magic marker artwork gives the gatefold jacket we've presented this disc in the look of a twisted children's book on acid, with weird images of chickens, trees growing through chairs, and more. The package is a sturdy 4-panel gatefold jacket printed by Stoughton, and it looks killer." [label info]
www.crucialblast.net
|
2008 |
€8.00 |
|
|
Autopergamene |
CD |
"Call it drone-doom-dirge-shoegaze or any other in vogue nomenclature you like. It doesn’t matter. The music is so sublime and superb that we consider a waste of time trying to further categorize the spiraling sounds exhaling from a NADJA album. They are simply the true originators of this bred of blissful, seriously intense and ominously ethereal heavy sounds.
Autopergamene finds the duo at the peak of their sonic language of slow-blooming, heavily nuanced ambient guitar constructions and epic heaviness. From blissful, paced and almost orchestral hymns to lush acoustic guitars and super distorted, fuzzed out rumbling sludge riffages. Breathtaking.
Lavishly assembled in a custom 6-panel digisleeve packaging housing a 6 cards set with beautiful watercolor paintings and artwork by the gifted Portuguese artist L Filipe dos Santos. Superb mastering via James Plotkin. Limited to 800 copies." [label info]
www.essence-music.com
|
2010 |
€14.00 |
|
|
Queller |
CD |
"Second edition on CD. Strictly limited to 450 copies housed in our luxurious, sturdy tip-on mini-LP gatefold packaging. Features slightly modified and expanded artwork, including a silkscreened poster and die-cut bellyband.
Nadja’s absolutely unique and incredible splicing of extreme doom, shoegaze and experimental music that the Canadian duo – currently based in Berlin – likes to call dreamgaze is of such beauty and heaviness that it can crumble skyscrapers and mesmerize souls in absolute bliss and colossal majesty.
Calmer and more structured when compared to their other albums, Queller is their newly crafted masterpiece where the band explicitly dives back into the new wave and post-punk era to combine those influential sonorities with an amalgam of immense and gorgeous sludging heavy guitar constructions. As the mastermind Aidan Baker wisely says, “Killing Joke, Joy Division and Wire reinterpreted through the Nadja spectrum”.
The ethereal, lush and slow-motion heaviness of tracks like “Dark Circles” and the crushing blasts of “Lidérc” per se are true statements of an album of epic proportions. Nadja at its absolutely best.
Fantastic artwork by Error! Design and mastering by James Plotkin." [label info]
www.essence-music.com
|
2016 |
€15.00 |
|
|
The Stone is not hit by the Sun, nor carved with a Knife |
CD |
"Nadja return with The Stone Is Not Hit By The Sun, Nor Carved With A Knife, their first release for Gizeh Records. The Canadian/Berlin-based ambient doom duo of Aidan Baker and Leah Buckareff continue their ultra-prolific output with a monolithic record which explores the depths of heavy noisescape-related music. Encompassing distorted riffs and hypnotic rhythms the album sonically attempts to continue on from the more structured elements of the duo's recent Queller album (2014), coupling that approach with Nadja's more traditional sprawling, dense and challenging sounds. The relentless fuzzed-out textures repeat and build into a blissful and cathartic whole - a place to be completely immersed. In the deep, glacial and all-consuming world that Baker and Buckareff provide the listener with here, there is a will to dissolve, to let the record wash right over you or perhaps even through you. At times crushingly beautiful, The Stone Is Not Hit By The Sun, Nor Carved With A Knife is brought to life by its clever restraints with quieter interludes serving a perfect purpose against its more intense, heavier moments. The album's intriguing title comes from a runic inscription on an Icelandic burial stone but the phrase also appears on the Eggja Stone which provided some of the lyrical content on the record. Nadja have a habit of transcending genres and indeed throughout their career, they have been incredibly difficult to pin down. The Stone Is Not Hit By The Sun, Nor Carved With A Knife is a welcome addition to that hefty catalogue and stands up tall against their most impressive work. Aidan Baker - guitars, vocals, drum machine; Leah Buckareff - bass guitar Recorded in the autumn of 2015 at Broken Spine Studios, Berlin. Mastered by James Plotkin. Artwork by
Aidan Baker and Richard Knox." [label info]
www.gizehrecords.com
"The CD was mistakenly manufactured with only 3 track markers when there should be four. So, the correct tracklisting should be 4 tracks, as it appears on our Bandcamp page:
https://nadja.bandcamp.com/album/the-stone-is-not-hit-by-the-sun-nor-carved-with-a-knife
The fourth track is a bonus track exclusive to the CD and not on the LP at all." [Aidan Baker]
|
2016 |
€15.00 |
|
| |
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 |
|
| NADJA / AIDAN BAKER |
Nalepa |
LP + CD |
NADJA | AIDAN BAKER NALEPA
After their highly acclaimed album “Luminous Rot” (Southern Lord), Nadja continue their body of doom drone shoegaze works with the instrumental album “Nalepa”.
On “Nalepa” Nadja are joined by Ángela Muñoz Martínez on drums, also known as one of the percussionists in the always evolving Hypnodrone Ensemble. The three musicians teamed up for a live in studio session at Funkhaus Berlin, after being invited by Jake Muir, with the aim “that we might do something different in the studio than we normally would ourselves” (Aidan Baker).
The former DDR broadcast studio with its giant studio rooms, is the perfect place for an epic drone doom session, providing enough room for all the sounds to sprawl.
“Nalepa” features the studio session, divided into six parts, or two parts on vinyl. The first half is a pushing forward doom beast, featuring repetitive themes, while the second part comes with a more experimental seething approach, like a volcano close before eruption. The album has its own haunting libertine mood and sounds different, compared to other Nadja albums featuring drummers. Have a listen on soundcloud.
In a follow up session some weeks later, Aidan Baker also recorded a solo album at the illustrious Funkhaus Berlin that is featured as a CD, which comes with the Nadja LP. “Nalepa” by Aidan Baker features four dynamic tracks, moving somewhere between ambient, drone, jazz and space rock. All sounds on that record are played live by Aidan. He played drums over live-looped guitar and bass patterns, to create four exceptional energetic pieces.
“Nalepa” comes in an edition of 250 copies on LP+CD. Black vinyl with printed labels and reverseboard printed sleeve on 300g cardboard. The CD is housed in a reverse board printed cardboard wallet. Both formats are featuring artwork by øjeRum.
Nadja – Nalepa LP
Funkspiel I (8:25)
Funkspiel II (10:50)
Funkspiel III (6:58)
Funkspiel IV (12:25)
Funkspiel V (7:54)
Funkspiel VI (5.24)
Aidan Baker – Nalepa CD
Radioplay I (10:46)
Radioplay II (11:24)
Radioplay III (8:38)
Radioplay IV (11:18)
Credits:
Nadja
Aidan Baker (guitar)
Leah Buckareff (bass)
Ángela Muñoz Martínez (drums)
recorded live in studio 01.02.2020 at Funkhaus Berlin by Jake Muir, Matias Santos and Olívi Mamberti
Aidan Baker
Aidan Baker (guitar, bass, drums)
recorded live in studio 27.03.2020 at Funkhaus Berlin by Jake Muir, Matias Santos
Technical:
LP + CD / Limited to 250 copies
LP comes on black vinyl / reverseboard printed sleeve / printed labels
CD comes in wallet / reverseboard printed sleeve
https://www.midirarecords.com/release/md-100-nadja-aidan-baker-nalepa/
|
2022 |
€32.00 |
|
| 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 |
|
| NATURAL SNOW BUILDINGS |
Terror's Horns |
LP |
"Da ist es wieder, das französische Psychedelic Dronefolk Duo. Ihr 2013 wiederveröffentlichtes Album The Snowbringer Cult hat mich damals aus den Socken gehauen. Das war das reinste Hitfeuerwerk und in dem Jahr nicht umsonst als zweitbestes Album noch vor dem damaligen Release meiner Lieblingsband Troum plaziert. So konsequent hittig gehts diesmal nicht zu, aber dafür noch ein wenig verspulter. Hits gibts aber mit dem eher psychedelisch-folkig gehaltenen „Sun Tower“ und dem eher ambient-dronigen „The Rising Portal“ dann auch noch. Insgesamt so spannend und visionär, daß ich das nächste Album jetzt schon kaum erwarten kann." [Sibylle Bölling/Pretty in Noise]
"After a string of Natural Snow Buildings reissues, each more elaborate then the last, Ba Da Bing presents their first ever release of new material from the band. For a group known for its use of horror imagery and lyricism, perhaps the most shocking thing of all is that this album clocks in at just under 45 minutes. If there ever was a release that served as the proper entry point for Natural Snow Buildings, Terror’s Horns is it. It would be a stretch to call this Mehdi Ameziane and Solange Gularte’s pop record, for Terror’s Horns continues the duo’s tradition of combining many layers into sometimes blissful, sometimes contemplative, often menacing conditions. Stringed instruments trill, percussion gongs, feedback hisses and vocals maintain near monotone as if in a cultish trance. The songs still unveil themselves slowly, and the album’s progression lends the impression of descending down through the depths, past hidden cavities and chambers never to be unseen once experienced. Terror’s Horns features new artwork by Gularte that pays tribute to the backwoods horror of massacres involving chainsaws." [label info]
"Yes, there are a plethora of insanely limited editions published for and by Natural Snow Buildings and their satellite projects; but with their recent dealings with Ba Da Bing, the problematic availability has been alleviated somewhat. Of course, there was a tiny cd-r bonus edition that was coupled with this album but only available in pre-order direct from the label. No shops got any of those; so, we apologize in advance that we cannot offer that version. HOWEVER, we do have this amazing album itself, from aQ fave death-folk explorers Natural Snow Buildings.
There's long been a haunted thread that traces through all of the work from the French duo of Mehdi Ameziane and Solange Gularte, whose long-form tangles of ritualist drone-rock minimalism and sprawling, opiated psychedelia harks back to International Harvester, Flying Saucer Attack, and Kemialliset Ystavat. Here on Terror's Horns, Natural Snow Buildings plumb the depths of an emotional gloom and shuddering despair with this epic, cinematic album. The two have long specialized in expansive tracks of shimmering guitars, woodwinds, and bowed instruments that could be psalters, zithers, and / or violins, all of which blossom into sublime masses of dronological impressionism; and on Terror's Horns, Natural Snow Building engage in a sound far more elegiac and funereal and heavier than heard on any of their previous recordings. The freak-folk transcendence of NSB still will embrace the unsettling falsetto of Ameziane and the percussive clatter of Gularte, with the swirling psychedelia tumbling downward in lush cinematic collapse, with heavy minor-key chords and reverb saturated rhythmic plod providing plenty of parallels to the early days of Barn Owl and the latter days of Earth. Beautiful as always, these Natural Snow Buildings, if much darker than in days gone by." [Aquarius Records] |
2015 |
€20.00 |
|
| |
Terror's Horns |
CD |
"Da ist es wieder, das französische Psychedelic Dronefolk Duo. Ihr 2013 wiederveröffentlichtes Album The Snowbringer Cult hat mich damals aus den Socken gehauen. Das war das reinste Hitfeuerwerk und in dem Jahr nicht umsonst als zweitbestes Album noch vor dem damaligen Release meiner Lieblingsband Troum plaziert. So konsequent hittig gehts diesmal nicht zu, aber dafür noch ein wenig verspulter. Hits gibts aber mit dem eher psychedelisch-folkig gehaltenen „Sun Tower“ und dem eher ambient-dronigen „The Rising Portal“ dann auch noch. Insgesamt so spannend und visionär, daß ich das nächste Album jetzt schon kaum erwarten kann." [Sibylle Bölling/Pretty in Noise]
"After a string of Natural Snow Buildings reissues, each more elaborate then the last, Ba Da Bing presents their first ever release of new material from the band. For a group known for its use of horror imagery and lyricism, perhaps the most shocking thing of all is that this album clocks in at just under 45 minutes. If there ever was a release that served as the proper entry point for Natural Snow Buildings, Terror’s Horns is it. It would be a stretch to call this Mehdi Ameziane and Solange Gularte’s pop record, for Terror’s Horns continues the duo’s tradition of combining many layers into sometimes blissful, sometimes contemplative, often menacing conditions. Stringed instruments trill, percussion gongs, feedback hisses and vocals maintain near monotone as if in a cultish trance. The songs still unveil themselves slowly, and the album’s progression lends the impression of descending down through the depths, past hidden cavities and chambers never to be unseen once experienced. Terror’s Horns features new artwork by Gularte that pays tribute to the backwoods horror of massacres involving chainsaws." [label info]
"Yes, there are a plethora of insanely limited editions published for and by Natural Snow Buildings and their satellite projects; but with their recent dealings with Ba Da Bing, the problematic availability has been alleviated somewhat. Of course, there was a tiny cd-r bonus edition that was coupled with this album but only available in pre-order direct from the label. No shops got any of those; so, we apologize in advance that we cannot offer that version. HOWEVER, we do have this amazing album itself, from aQ fave death-folk explorers Natural Snow Buildings.
There's long been a haunted thread that traces through all of the work from the French duo of Mehdi Ameziane and Solange Gularte, whose long-form tangles of ritualist drone-rock minimalism and sprawling, opiated psychedelia harks back to International Harvester, Flying Saucer Attack, and Kemialliset Ystavat. Here on Terror's Horns, Natural Snow Buildings plumb the depths of an emotional gloom and shuddering despair with this epic, cinematic album. The two have long specialized in expansive tracks of shimmering guitars, woodwinds, and bowed instruments that could be psalters, zithers, and / or violins, all of which blossom into sublime masses of dronological impressionism; and on Terror's Horns, Natural Snow Building engage in a sound far more elegiac and funereal and heavier than heard on any of their previous recordings. The freak-folk transcendence of NSB still will embrace the unsettling falsetto of Ameziane and the percussive clatter of Gularte, with the swirling psychedelia tumbling downward in lush cinematic collapse, with heavy minor-key chords and reverb saturated rhythmic plod providing plenty of parallels to the early days of Barn Owl and the latter days of Earth. Beautiful as always, these Natural Snow Buildings, if much darker than in days gone by." [Aquarius Records]
www.badabingrecords.com
|
2015 |
€14.00 |
|
| NECROPHORUS |
Underneath the Spirit of Tranquility (Redux Version) |
CD |
"Underneath the Spirit of Tranquility” (redux version) by Necrophorus (Peter Andersson from raison d'être) is a painted story canvas for the otherwise unreachable astral world. Adorned with esoteric ambiences, one feels as though embarking on a path of inner ascension while breathing the immaterial tranquilities. This redux version of 'Underneath the Spirit of Tranquility' (originally released 1996) has been carefully re-mixed for enhanced experience and spiced with two additional tracks. The artwork consists of drawings by Elinros Henriksdotter. Comes in a folding cover with 6 extra charts. Strictly limited to 500 copies." [label info]
www.wrotycz.com
|
2011 |
€12.00 |
|
| NEGATIVLAND |
Escape from Noise |
CD |
"If there is one Negativland CD that someone you know owns, it’s probably this one. This 1987 SST Records release was a surprise college radio hit, and, some say, years ahead of it’s time. "Escape From Noise" is one of our bestselling and most accessible projects, where we took the tape splicing skills honed on "A Big 10-8 Place" into ever more musical directions. In 1999 Seeland Records reissued "Escape From Noise" in a reworked package designed for the CD format. Negativland always intended the original cover artwork to be for the LP format only, and we were never happy with the "original" painted cover image reduced to such small size on the first CD issue. This new version features that artwork full size as the front cover, with the remainder of the artwork reformatted throughout the package by ace designer and Negativland satellite member Dan Lynch. This new version of "Escape From Noise" is not remastered or remixed in any way, nor is there any extra material added." [label info]
www.negativland.com
|
1999 |
€13.00 |
|
| NERTHUS |
Urban |
CD |
Nerthus isn't a new name to audiophob as a track of this project was already on the first release from our label "-∞ dB" (auphcd001). Furthermore Nerthus provided a remix to Spherical Disrupteds remix cd "Barriere" (auphcd006). But you might also know the project from its earlier releases, for instance at Art Konkret and recently on Polymorph Records. "Urban" is the latest work of this project and we are proud to have it on our label. On the first look, the 8 tracks on this CD might be more rhythmic than Nerthus' previous releases but nevertheless it still keeps the ambient mood. On your way through urban land- and soundscapes: don't forget to have a look at the artwork provided by Nethus himself. (auphcd007)
https://audiophob.bandcamp.com/album/urban
|
2007 |
€7.00 |
|
| NEUFELD, SARAH |
Hero Brother |
CD |
"Sarah Neufeld is a violinist and composer based in Montréal, Canada. Best known as a member of Arcade Fire, she is also a founding member of the acclaimed contemporary instrumental ensemble Bell Orchestre and has performed and recorded with many other groups, including The Luyas, Esmerine and Little Scream.
Neufeld began developing pieces for solo violin in a more formal and focused sense in 2011, though she has made improvisation and solo composition part of her process and practice since first picking up the instrument at a young age. Neufeld counts Bela Bartok, Steve Reich, Iva Bittova and Arthur Russell among the formative influences for her solo work, in tandem with an ear for the textures and sensibilities of contemporary electro-acoustic, avant-folk and indie rock music.
Neufeld's debut solo album Hero Brother indeed channels all of the above, flowing through shifting atmospheres and oscillating between restrained, stately ambience, emotive études, and raw kinetic energy. Small touches of wordless vocalisation, harmonium and piano supplant the violin in a few places. The album was recorded in Berlin by pianist and producer Nils Frahm, with Neufeld's performances captured in a number of locations with site-specific acoustics, including an abandoned geodesic dome, an underground parking garage, and the legendary Studio P4 orchestral recording hall at the broadcast complex of the former GDR. Hero Brother will be released on Constellation Records in August 2013.
Sarah has recently premiered her solo music at BAM (Brooklyn), the WSO New Music Festival (Winnipeg) and Wavelength Festival (Toronto), of which Exclaim magazine wrote "the highlight of the night was most certainly Sarah Neufeld, whose compositions range from Reichian to folksy without skipping a beat; she uses violin squeals, growls, scrapes and slides to express varying emotions and stomps the stage beneath her for percussion.
Packaging notes
CD comes in a custom gatefold jacket printed on thick 24pt. paperboard with a printed CD dust sleeve. LP is pressed on 180 gram virgin vinyl at Optimal (Germany) and comes in a heavyweight jacket with black poly-lined audiophile dust sleeve, credit insert, pull-out art poster and download code for 320 kbps MP3 copy of the album. Artwork by Tracy Maurice." [label info] |
2013 |
€14.00 |
|
| NEUROSIS |
Fires within Fire (white vinyl) |
LP |
"Of all that humankind has inherited through our ancestry, no single language has transcended every age as powerfully as music. For those few who channel that inheritance of sound today, none have wielded its command and authority like Neurosis. Showing their discontent with convention from the very beginning, Neurosis revealed what would become an instinct for transformation in sound and scope. With each release, the sound became interchangeable with vision. A vision of the conscious and unconscious coexisting in an audial spectrum that challenged not only the constraints of what listeners expected but of the listeners themselves as beings.
Over the collective’s past ten albums, Neurosis have invited listeners to join them on the path their music carved. Going beyond the remarkable, Neurosis became unforgettable. Throughout the last 30 years, the journey of their music has found the band relishing the unpredictable and embracing the unknown possibility of where the music was capable of taking them. This year finds Neurosis taking their most dominant step yet with their eleventh full-length, Fires Within Fires. Three decades in the making, Fires Within Fires is a testament both to the history and future of Neurosis. Striking the band's signature balance between light and dark, beauty and repulsion, Fires Within Fires gives due to its predecessors while progressing forward into the unfamiliar and formidable.
Featuring exquisite album artwork from the renowned Thomas Hooper and the stellar recording work of the group's longstanding engineer Steve Albini, Fires Within Fires is at once a beautiful and forbidding work of mastery. For members Scott Kelly, Steve Von Till, Jason Roeder, Noah Landis, and Dave Edwardson, the album is a welcomed companion to what’s now been a 30-year-long trek into the infiniteness of sound and sight coalescing into consciousness. An all-encompassing reminder that transfiguration in sound remains their most commanding and inimitable strength, Fires Within Fires is the next powerful step towards a destination that has long been and continues to be the very heart of "becoming" for the mighty Neurosis."
neurotrecordings.com |
2016 |
€33.50 |
|
| NEW BLOCKADERS & INCAPACITANTS |
As Anti As Possible |
CD |
"Two pioneering and prominent extreme harsh noise stalwarts, both of whom have been active since the early ’80s, come head-to-head in a much-anticipated collaboration where the mastery of both artists are skillfully woven into a chaotic symphony. The pairs (Rupenus & Gillham and Mikawa & Kosakai) worked with each other’s material producing two collaborations (appropriately titled ‘Blockading Of Incapacitants’ / ‘Incapacitation Of TNB’) comprising relentless metal abuse, screaming feedback, gut-churning rumbles and deranged vocals. As the title suggests, ‘As Anti As Possible’ is certainly no easy listen and will be a challenge for all but the most die-hard of Noise fans.
TNB and Incapacitants have been mutual admirers of each other’s work since the mid-‘80s and have since that time occasionally discussed the possibility of a collaboration. However, no such collaboration has occurred until now.
’As Anti As Possible’ was originally intended to be issued on LP but, due to the extreme nature of the music, vinyl format wasn’t possible. Therefore, ‘As Anti As Possible’ has been presented on CD format. Includes new artworks by Rupenus (TNB)
https://4ibrecords.com/2019/04/06/the-new-blockaders-incapacitants-as-anti-as-possible-cd-out-now/ |
2019 |
€13.00 |
|
| NEW BLOCKADERS & VARIOUS ARTISTS |
Viva Negativa! A Tribute to the New Blockaders Vol. II - Europe |
do-CD |
"Volume II in a series of UK / European / US and Japanese artists’ tributes
to the pioneering UK Noise group The New Blockaders including exclusive
tracks by: Asmus Tietchens, RLW, Achim Wollscheid, Runzelstirn & Gurgelstock, Sudden
Infant, Dave Philips, Das Synthetische Mischgewebe, Kommissar Hjuler, Mama
Baer, Freiband, Vortex Campaign, Grunt, Lasse Marhaug, Jerome Noetinger,
Christian Renou, Pita, Giancarlo Toniutti, Zbigniew Karkowski, Alexei
Borisov, Cisfinitum, etc.
Artwork by Richard Rupenus (TNB)
The New Blockaders are a group who, more than any other, define the essence of true Noise music both in art and in act. Their influence on the current crop of popular crossover Noise artists such as Prurient and Wolf Eyes is
immeasurable. Emerging at the beginning of the 1980s alongside the Industrial grind of Throbbing Gristle and the harsh, abrasive Power
Electronics of Whitehouse, TNB stood out through a purity of vision. Their first record, 1982’s Changez Les Blockeurs, is noise in its most rudimentary form: metallic grating sounds and analogue feedback redefined what could be
classified as music. Its abstract form and Dadaist construction challenged all that had appeared before. It’s anti-music approach presented a recording closer to the theory-driven work of Einsturzende Neubauten than their
supposed contemporaries. They would appear rarely and when they did it would be in anonymity. The records would emerge even more infrequently with little information and in tiny runs. Collaborations in recent years with artists such as Sonic Youth’s Thurston Moore and Merzbow have bough their anti-sound
to a younger and diverse audience. The metal-bashing of K2, the awkwardness of Runzelstirn & Gurgelstock, the density of Macronympha and the
abrasiveness of Merzbow all owe something to the anti-music of TNB. They can truly be credited as pioneers of Noise music as we know it today." [label info]
www.aufabwegen.com
Reissue of parts of the LP box on VoD, with some extra tracks by Jerome
Noetinger, Kommissar Hjuler and more.
"The New Blockaders, Noiseinfanterietrupp und frühe Vordenkerform bruitistischer Lärmcollagierung bekommt auf dieser Compilation ein frühes Denkmal neu aufgesetzt. Die vorliegende Kompilation, 2006 in ähnlicher Form auf dem VOD-Label veröffentlicht, bekommt hier eine gänzlich neue Formung mittels exklusiver Bearbeitungen und Widmungen und einem Mastering von Asmus Tietchens. Die versammelten Werke, allesamt bezogen auf die Tributisierung der NB reichen dabei von archaischer Klangformung bis hin zu penetrierenden Digitalschwaden kurzgeschnittener, fingernagelgroßer Klangpailetten. Achim Wollscheid, RLW, Tietchens selbst, Runzelstirn & Gurgelstøck in einer Paradestellung dafür was analog gegen digital bedeutet und Giancarlo Toniutti sind nur einige wenige, deren Beiträge sich sattsam an der Tatsache weiden, die frühen Ausläufe des Industrial in ihrer Glanzzeit als Musiker der selben Kunstgattung miterlebt zu haben. Wenngleich einige wenige Durchläufer überbleiben (wie z.B. Achim Wollscheids geradezu unhörbare Symphonie für geschredderte Samplebänke, die in ihrer Konsequenz zwar mutig genug ist, aber zu sehr hinter den anderen Beiträgen zurückkbleibt sowie Freiband’s programmatisch betiteltes »Nichts«, das geradezu unverschämt mager die Möglichkeiten gecrushter Feldaufnahmen untersucht und geradezu hingeworfen wirkt), sind die Beiträge von RLW (mit Einbindung der kompletten Familie in den Prozess der Manifestierung), Mama Bär (welche ihre kongenial platzierten Schreie gegenüber einer Metallbastonade tapestriert, um auf die Kontraste von Vokal und Bruit aufmerksam zu machen), Kommissar Hjuler (dessen Beitrag das Sujet allzu sehr ad absurdum führt, aber in seiner vehementen Konsequenz auch nicht davor zurückschreckt, Kinderlieder einzubinden) sowie die musique concréte-Arien von Jérôme Noetinger und Das Synthetische Mischgewebe (die mit ihrer Collage aus atonalen Kracherzeugern einen ähnlich bewegenden Ablauf schaffen wie seinerzeit Ruttmanns »Weekend«) in ihrer Klangwerdung geradezu vorbildlich beschaffen. Ein insgesamt sehr überzeugender Re-Release für all jene, denen die 10 Platten der VOD-Ausgabe zu teuer waren. 5/5 " [Thorsten Soltau / AEMAG]
|
2010 |
€17.50 |
|
| |
Viva Negativa ! Vol. III : USA |
do-CD |
"Die NEW BLOCKADERS sind eine Gruppe, die mehr als jede andere die Essenz des wahren Noise sowohl in Kunst als auch Musik definiert. Ihren Einfluss auf die aktuellen Crossover Noise Künstler wie PRURIENT und WOLF EYES ist nicht zu verkennen. Seit ihren ersten Schritten Anfang der 80er in der Gesellschaft des Industrial Grind von THROBIING GRISTLE und den kantigen Power Electronics von WHITEHOUSE, standen THE NEW BLOCKADERS immer für die Reinheit ihrer Vision. Ihr erstes Album, "Changez Les Blockers" von 1982, ist Noise in seiner ursprünglichsten Form: metallisches Knirschen und analoges Feedback definierten die Grenzen von Musik neu. Die abstrakte Form und die dadaistische Konstruktion stellten alles Dagewesene in Frage. Die Band sollte nur selten und dann anonym auftauchen. Alben kamen noch unregelmäßiger und meist in kleinen Stückzahlen. Kollaborationen mit Thurston Moore von SONIC YOUTH und MERBOW in jüngerer Vergangenheit haben den Sound von THE NEW BLOCKADERS auch einer jüngeren Generation nähergebracht. Das Metallgehaue von K2, die Ungemütlichkeit von RUNZELSTIRN&GURGELSTOCK, die Dichte von MACRONYMPHIA und die Kantigkeit von MERZBOW sind nicht ohne die Einflüsse der Anti-Musik der NEW BLOCKADERS." [label info/ Cargo]
"Volume III in a series of UK / European / US and Japanese artists’ tributes to the pioneering UK Noise group The New Blockaders including exclusive tracks by:
Z’EV, The Haters, Controlled Bleeding, Thurston Moore, Jim O’Rourke, Wolf Eyes, Macronympha, Emil Beaulieau, AMK, Idea Fire Company, John Wiese, Daniel Menche, Damion Romero, Aaron Dilloway, Lockweld, Prurient, Richard Ramirez, Keith Fullerton Whitman, Jason Kahn, mnortham, Carlos Giffoni, Blue Sabbath Black Cheer, etc.
Artwork by Richard Rupenus (TNB)
The New Blockaders are a group who, more than any other, define the essence of true Noise music both in art and in act.
Their influence on the current crop of popular crossover Noise artists such as Prurient and Wolf Eyes is immeasurable. Emerging at
the beginning of the 1980s alongside the Industrial grind of Throbbing Gristle and the harsh, abrasive Power Electronics of Whitehouse, TNB stood out through a purity of vision. Their first record, 1982’s Changez Les Blockeurs, is noise in its most rudimentary form: metallic grating sounds and analogue feedback redefined what could be classified as music. Its abstract form and Dadaist construction challenged all that had appeared before. It’s anti-music approach presented a recording closer to the theory-driven work of Einsturzende Neubauten than their supposed contemporaries.They would appear rarely and when they did it would be in anonymity. The records would emerge even more infrequently with little information and in tiny runs. Collaborations in recent years with artists such as Sonic Youth’s Thurston Moore and Merzbow have bough their anti-sound to a younger and diverse audience. The metal-bashing of K2, the awkwardness of Runzelstirn & Gurgelstock, the density of Macronympha and the abrasiveness of Merzbow all owe something to the anti-music of TNB. They can truly be credited as pioneers of Noise music as we know it today.
Disc One:
Z'EV "Chips Off The New Block"
Keith Fullerton Whitman "September 27th, 1960"
Alan Courtis "Happy Blockaders Time"
Controlled Bleeding "The Latest Hole In My Head"
Plethora "Last Night I Dremt Of Anti-Fest... This Morning I Woke Up Deaf"
Macronympha "Riding Down Lost Highway"
The Haters "Mantra To Rot"
Emil Beaulieau "Anti-Vartan"
Lockweld "Catharsis Bomb"
Daniel Menche "Smoldered Blockaders"
John Wiese "Annul"
Broken Penis Orchestra "The Kill Lump"
Jason Kahn "Rille"
Disc Two:
Idea Fire Company "Les Heros De La Barricade Finale"
mnortham "Plotting Course On The Field Of Nothingness"
Thurston Moore "Corion Sound for TNB"
Jim O'Rourke "407 Seconds Over"
Damion Romero "Broken Block"
Prurient "Majdanek Slaughterhouse"
Richard Ramirez "Cultural Blockade"
Blue Sabbath Black Cheer "Untitled"
Carlos Giffoni "Richard Walks Into The Sea"
AMK "Phlegm Angst"
Aaron Dilloway "Machine Rape (Blitzkrieg)"
Wolf Eyes "Fisted Gadgets" " [label website info]
www.importantrecords.com
|
2010 |
€17.50 |
|
| NEW BLOCKADERS (THE) |
Live at Hinoeuma |
pic-LP |
Great droning & earthquaking noise, a firestorm of sounds on many levels & with micrologic developments.... recorded live in London 2003. Soon to be rare !
“Recordings from a live performance in London during 2003 by one of the true legends of the experimental/ Anti music Scene. Totally destroyed dada-noise on a beautiful picture disk featuring collage artwork by TNB. ltd. 400” [Self Abuse]
“It doesn't get more physical than this. Imagine Daniel Menche in a violent mood coupled with english actionism! A terrific end to a terrific anti-career.“ [Love Rosenström, Segerhuva]
|
2005 |
€28.00 |
|
| 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 |
2024 |
€20.00 |
|
| NILSEN, BJ [BJ NILSEN] |
Focus Intensity Power |
LP |
For his inaugural LP for Moving Furniture Records the Amsterdam based Swedish sound artist BJ Nilsen turns his intense aural focus and compelling narrative power away from his well-known and much lauded predilection for field recordings of organic nature or the urban built environment. The five pieces presented on this record capture Nilsen during a short residency he did in the Fall of 2017 at Willem Twee Electronic Music Studio in Den Bosch, The Netherlands – five documents these are of improvised sessions using modular synthesizers, tone generators and test and measurement instruments.
Nilsen, ever the exploratory sound experimenter, de facto exchanged his wax rain coat for the white laboratory mantle. On Focus Intensity Power he lets the machines rule supreme. Although BJ says there's no underlying major concept to the record, the quintet of recordings is tied together to form a sturdy sonic package, tied with a red thread of analog pulse, droning waves and subtle and surprising noise interventions. Washes of natural wind or condensed bustle of London traffic as we have come to know and highly appreciate from his previous works have found their machine-counterparts in sessions that retain the flâneur's touch of slowly moving, roaming open ears with keen interest in texture and timbre. And at the same time these indoor improvisations yield a tremendous poetic freedom for both artist and listener; boundless walking through layers of pure sound – freed from time and place and space.
Sven Schlijper-Karssenberg, July 2018
credits
released August 24, 2018
Music by BJNilsen recorded at Toonzaal, 's-Hertogenbosch, NL. engineerd at Odd Phasting and Echoes, Amsterdam, NL.
Mastered by Jos Smolders at EARLabs.
Published by Touch Fairwood Music.
Artwork by Zeno van den Broek.
https://movingfurniturerecords.bandcamp.com/album/focus-intensity-power
"From his first dark ambient project Morthound which had releases on Cold Meat Industry during the early 1990s, BJNilsen moved over to the Hazard moniker in the late 1990s, and from around 2004 onwards opted to record under his own name. Generally speaking, over the last 15 years BJ’s approach has been characterized by an experimental approach to sonically processing various natural and urban-based field recordings. However with Focus Intensity Power being the solo new album, it marks a decided shift away from the use of field recordings as it is a purely studio-based album, which according to the promo notes provides: ‘documents of improvised sessions using modular synthesizers, tone generators and test and measurement instruments’. Sonically this album has greater alignment with early Hazard albums than recent solo output and is certainly welcomed from these quarters. The 15-minute album opener Beam Finder is an elongated exploration of minimalist unceasing mid to lower range bass tones, coupled with micro-tonal static and machine idling drones which appear late in the track. This approach continues with The Sound Of Two Hands, although this is slightly more forceful and varied with the introduction of a ‘ticking clock’ element and other minimalist scattered electronics. The relatively short Flattened Space embodies a muted sub-orchestral tone blended with mechanical menace, while Table of Hours fits cleanly within a dark ambient drone frame of reference. The final of the five tracks, The Limits of Function, starts slow but gradually elevates with layered machine drones, and the second half of the track is driven forwards by a central rhythmic loop. In essence Focus Intensity Power is an effective celebration of sustained tonal atmospheres, which amounts to evocative sounds in their purest form. Sublime." [Noise Receptor] |
2018 |
€16.50 |
|
| |
Distant Brilliance |
10inch |
"BJ NILSEN releases his very first 10" vinyl record in a career spanning more than twenty years, and the result is simply a must for anyone interested in experimental electronic music. "Distant Brilliance" contains two new tracks, namely "The Question" and "The Answer", which were composed especially for this release on 13 and were recorded at Odd Phasing and Echoes, Amsterdam, The Netherlands, in 2019. Packed in a deluxe gatefold sleeve with images created by Stefano Gentile, the layers of abstraction and decay in the artwork were the catalyst for the music, which comes as a welcome addition to both the label's and the artist's ever-growing catalogues."
13.silentes.it/private_sounds/sps2034_bj_nilsen_distant_brilliance.htm
|
2020 |
€26.00 |
|
| 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 |
|
| NOETINGER, JEROME & LIONEL FERNANDEZ |
Outer Blanc |
LP |
Highly electrified guitar, anamorphosed, perforated, and tainted by all sorts of effects, implodes its rage and its urgency in the magnetic nets of a tape recorder as cannibal as it is destructive. From various recordings Lionel Fernandez & Jérôme Noetinger have created and produced these ten pieces: big, biting, dangerous and acerbic – like the intoxicated meeting of a chainsaw and a microphone. Real garage music: grease, gutted car bodies and outdated alternators, like a soundtrack ripped from an unreleased Tobe Hooper film.
Lionel Fernandez and Jérôme Noetinger: a musical encounter between two important and uncompromising figures in contemporary experimental music in France. This duo emerged during an evening of the label Premier Sang programmed at Instants Chavirés (Montreuil) in the 2010s… A few years and a few furious concerts later and it is now on the Sonoris label that they are releasing their first record.
Guitarist of the pioneering french free noise/no wave band Sister Iodine, Lionel Fernandez uses an out of norm practice of the electric guitar in a group or as solo playing, “a guitar used as a flame thrower thrashed and fiercely held up as machette totem, he chops through darkness with unsane anti-riffs and carved blocs of dirty sounds, where gargle in slow combustion gangreened micro-textures » (Le Non_Jazz)
He also plays in other deviant combos such as Antilles, Cobra Matal, Ibiza Death, Haine, Porsche, Discom, Minitel, Mauser M etc and has collaborated either live or on records with Masaya Nakahara, Meyna’ch/Mütiilation, Andy Bolus/Evil Moisture, Stephen Bessac/Kickback, Hendrik Hegray, Tujiko Noriko etc..
Jérôme Noetinger is a composer, improviser and sound artist who works with electroacoustic devices such as the Revox B77 reel-to-reel tape recorder and magnetic tape, analogue synthesisers, mixing desks, speakers, microphones, various electronic household/everyday objects and home-made electronica.
From 1987 to 2018, he was the director of Metamkine, a non-profit organisation dedicated to the distribution of improvised and electroacoustic music. Between 1987 and 2014 Jérôme was a member of the editorial committee of the quarterly journal of contemporary sound, poetry and performance, Revue & Corrigée. For ten years from 1989, he was a member and programming co-ordinator of exhibitions, gigs, and experimental cinema at le 102 rue d’Alembert, Grenoble.
_
Lionel Fernandez, guitar, electronics
Jérôme Noetinger, Revox B77, electronics
10 tracks, 42 minutes, master by Fred Alstadt at Studio Angström
##################################
"Une guitare hautement électrifiée, anamorphosée, trouée, et salie par toutes sortes d'effets, implose sa rage dans les filets magnétiques d'un magnétophone à bandes, cannibale et destructeur. A partir de divers enregistrements et de pistes rapportées, Lionel Fernandez & Jérôme Noetinger ont créé et produit ces 10 pièces grasses et acides, moites et caverneuses, sorte de rencontre intoxiquée entre une tronçonneuse et un micro. Une vraie musique de garage, entre cambouis, carrosserie éventrée et alternateur périmé, comme la bande-son arrachée d'un film inédit de Tobe Hooper."
credits
released September 9, 2021
Jérôme Noetinger, magnétophone à bande Revox B77, électroniques.
Lionel Fernandez, guitare, électroniques.
Enregistré aux Instants Chavirés par Benjamin Pagier, à Paris à Blckout Studio, et Rives
Masterisé par Frederic Alstadt à Studio Angström
Artwork par Unglee Izi
Sonoris 2021
https://sisteriodine.bandcamp.com/album/outer-blanc-2
|
2021 |
€18.00 |
|
| NOISE CLUSTER / STIGMATE |
Extreme Sleepwalking |
MC |
"Extreme Sleepwalking" by Noise Cluster (der bekannte postindustrielle Trompeter & Xxena) and Stigmate from Italy are ready.
Nightmareish Sounds and Rhythms on black c40 Tapes in hand dyed, blue cotton bags with cover art by Fabian Blobel and a card with more pictures inside. Lim. to 50 copies
https://grubenwehrfreiburg.bandcamp.com/album/extreme-sleepwalking
Die beiden Projekte, die sich auf dem vorliegenden Tape zusammen dem Phänomen des Schlafwandelns widmen, sind schon länger in der elektronischen Musik Italiens aktiv und lernten sich doch erst vor kurzem kennen. Sowohl die Römer Flavio Derbekannte und Arianna Degni Lombardo (Noise Cluster) als auch der Sardinier Nicola Locci (Stigmate) sind Hörer und gelegentlich Mitwirkende einer bekannten Radiosendung für experimentellen Lärm (Elettrodo auf Radio Onda Rossa) und wurden so aufeinander aufmerksam.
Trotz ihrer unterschiedlichen Arbeitsweise – Noise Cluster kombinieren gerne Digitales mit akustischen Sounds wie denen der Trompete, Stigmate ist leidenschaftlicher Bastler an analogem Gerät – entdeckten sie schnell die Gemeinsamkeiten, die für eine spontane Kollaboration sprechen. Diese hat mit dem auf 50 Tapes und digital erhältlichen “Extreme Sleepwalking” nun ihr erstes Resultat herausgebracht, und dieses klingt in der Tat so, als wären die drei schon immer eine feste Band gewesen.
Schlafwandel wird gerne metaphorisch für einen apathischen Zustand verwendet, und eine solche Bedeutung klingt durchaus an, wenn das Label in Anspielung an die immer noch aktuelle Pandemie von “the nightmares, bad dreams, and gloomy and depressive feelings this particular historical moment has brought about” spricht. Die Musik selbst – und das von dieser inspirierte Artwork von Fablian Blobel – hat allerdings einiges von echten heftigen Alpträumen – schon gleich zu Beginn, wenn Schreie und andere angstinflößende Elemente über einem schmissigen, kratzigen Loop aus den Boxen dringen.
Auf “Extreme Sleepwalking” herrschen die Mächte des Grauens, und das kehrt auch der straighte Takt des Openers “Mindbender” nicht unter den Teppich, vielmehr hat man den Eindruck, dass die schleifenden und prasselnden Industrialsounds erst auf ihren endgültigen Ausbruch warten. In “Sleep (Mutation)” erzeugen schrille Sounds eine futuristische (oder paläontologische) Klanglandschaft, die droht, in Elektroclash umzukippen, was aber – auch dank elektrifizierter Noiselawinen und Flavios wie meist recht smoothen Trompete – nicht passiert. “Moving Target” startet spannungsvoll pulsierend, doch die vielen Soundideen und Melodiefragmente führen all das noch mal in eine andere Richtung. Die hier spürbare Nervosität kehrt später in “Dim Light” wieder, das eher an die grellen Scheinwerfer schweren Kriegsgerätes erinnert.
Alle Tracks offenbaren einen komplett eigenen Charakter und bleiben in ihrem Verlauf selten unverändert: Die beiden mit Knacken und Knistern beginnenden Teile von “Death Vision”, die irgendwann zu einem monumentalen Inferno an brachialem Pauken und Ariannas gehauchter Stimme anwachsen, finden später ihre (nur scheinbar friedliche) Erdung, bis sich der kratzige Kreis wieder schließt – diese Stücke, bei denen riesige Metallandroiden durch die Landschaft marschieren, würden in großen Hallen funktionieren und müssten, im Unterschied zu etwas subtileren, zurückgenommeneren Stücken wie “Where Am I?” oder “The Fall”, nicht einmal durch ihren ausgeklügelten Detailreichtum überzeugen.
Der “Brain Damage” im abschließend so betitelten Track entpuppt sich als starker Sog, der einen mit Pauken und (buchstäblichen) Trompeten in eine traumhafte Parallelwelt zieht, die an die pathologischen Visionen am Ende von Hoffmanns Der Goldene Topf denken lässt. Dies gelingt wohl v.a. deshalb, weil der Track ein wirklich kraftvolles und mitreißendes Album abschließt. (U.S.)
|
2021 |
€9.50 |
|
| NOISE RECEPTOR JOURNAL |
Issue No. 7 |
mag |
Noise Receptor Journal Issue no.7
Noise Receptor Journal continues its adventures into the physical world, where this print venture constitutes the physical manifestation of the Noise Receptor blog, but also contains interview and art content to differentiate it from the already published web-based reviews.
While Noise Receptor Journal is not intended to replace the website, it is however targeted at an audience who values the permanence of print media over the transience of web-content.
Details of content and format of the Noise Receptor Journal Issue No.7 as follows:
CONTENT
In depth interviews with: Am Not, Cloister Recordings Himukalt, Ochu, Pterygium, & Tone Generator (of SPK & Last Dominion Lost).
A series of six previously unpublished SPK group photos, taken at The Brickworks, Sydney, March 1982.
Collage artwork by Richard Stevenson.
50 in depth music reviews (ambient/ industrial/ experimental / power electronics etc.).
FORMAT
A5 Format.
Professional print, colour cover, grey-scale throughout.
‘Perfect bound’ spine, with matt laminate, thick card stock cover.
94 pages in length.
Limited to 600 copies.
Copies available via: http://www.noisereceptor.bigcartel.com
https://noisereceptor.wordpress.com/physicality/noise-receptor-journal-issue-no-7/ |
2019 |
€11.00 |
|
|
Issue No. 8 |
mag |
Noise Receptor Journal Issue no.8
Noise Receptor Journal continues its adventures into the physical world, where this print venture constitutes the physical manifestation of the Noise Receptor blog, but also contains interview and art content to differentiate it from the already published web-based reviews.
While Noise Receptor Journal is not intended to replace the website, it is however targeted at an audience who values the permanence of print media over the transience of web-content.
Details of content and format of the Noise Receptor Journal Issue No.8 as follows:
CONTENT
Long-form interviews with: Moral Order, Post Scriptvm & Total Black & Nordvargr (30+ year/career spanning interview).
Detailed report / photos of the Dominion of Flesh: 5 Years of Cloister Recordings festival.
Reviews: 50+ detailed reviews (ambient/ industrial/ experimental / power electronics etc.).
Artwork: Original cover artwork + review section artwork by Nordvargr.
FORMAT
A5 Format.
Professional print, colour cover, grey-scale throughout.
‘Perfect bound’ spine, with matt laminate, thick card stock cover.
90 pages in length.
Limited to 600 copies.
Copies available via: http://www.noisereceptor.bigcartel.com
https://noisereceptor.wordpress.com/physicality/noise-receptor-journal-issue-no-7/
|
2020 |
€12.00 |
|
|
Issue No. 9 (April 2021) |
mag |
oise Receptor Journal Issue no.9
Noise Receptor Journal continues its adventures into the physical world, where this print venture constitutes the physical manifestation of the Noise Receptor blog, but also contains interview and art content to differentiate it from the already published web-based reviews.
While Noise Receptor Journal is not intended to replace the website, it is however targeted at an audience who values the permanence of print media over the transience of web-content.
Details of content and format of the Noise Receptor Journal Issue No.9 as follows:
CONTENT
Long-form interviews with: Contrastate, Die Kombination, Linekraft, Live Bait Recording Foundation, Martin Bladh, Murderous Vision & Nil By Mouth.
Reviews: 60 detailed reviews (ambient/ industrial/ experimental / power electronics etc.).
Artwork: Original cover artwork + review section artwork by Martin Bladh.
FORMAT
A5 Format.
Professional print, colour cover, grey-scale throughout.
‘Perfect bound’ spine, with matt laminate, thick card stock cover.
98 pages in length.
Limited to 600 copies.
https://noisereceptor.wordpress.com/physicality/noise-receptor-journal-issue-no-9/
|
2021 |
€12.00 |
|
|
Issue No. 10 (May 2022) |
mag |
Noise Receptor Journal is a specialist micro print endeavour that constitutes the physical manifestation of the noise receptor website, but contains new interviews and art content to differentiate it from the already published web-based reviews.
ISSUE no.10 CONTENT/ FORMAT
-: Long-form interviews with: Browning Mummery, Cipher Productions, Dødsmaskin, Geography of Hell, Infinexhuma & Raison D’être.
-: Reviews: 60+ detailed reviews (ambient/ industrial/ experimental / power electronics etc.).
-: Artwork: Cover artwork + review section artwork by Peter Andersson.
-: New larger print format (33% larger & midway between A4 & A5).
-: 106 pages. Professional print, colour cover, grey-scale throughout. ‘Perfect bound’ spine, with matt laminate, thick card stock cover.
-: Print to 600 copies.
https://noisereceptor.bigcartel.com/product/1-x-copy-of-noise-receptor-journal-issue-no-10
|
2022 |
€12.50 |
|
| |
Issue No. 11 (August 2023) |
mag |
Noise Receptor Journal Issue No.11 content:
-: Long-form and detailed interviews with: African Imperial Wizard, Ulvtharm (Mz.412), Cult of Youth, Letum & James Light (of Agonal Lust, Wounded Son, Finders, Packing Plant etc).
-: Documentation of Linekraft: Hunger for Life Vol.1 (event January 2023), and Clutch showcase (October, 2022).
-: Reviews: 40+ detailed reviews.
-: Artwork: cover and 10+ pages of artwork by James Light.
-: The publication will again be in a new larger format (i.e. size mid-way between A5 & A4), with 100 pages approx.
-: Colour cover and professional greyscale with ‘perfect bound’ glue-bound spine.
-: Print run of 600 copies.
https://noisereceptor.wordpress.com
|
2023 |
€13.00 |
|
| NON TOXIQUE LOST (NTL) |
Terre et Argent |
LP |
Nachdem die letztjährige Erstauflage sofort weg war, sind jetzt nochmal 300 Stück nachgepresst worden, wieder im Siebdruck-Cover !
Material from the early 80’s, the first band of ACHIM WOLLSCHEID!
“Old school industrial from legendary 80ies tapes of this german group. Impressing mix of aggressive vocals, kicking guitar and rhythmical synthesizer work. Limited edition with spraypaint cover by tbc of 100 copies. After that comes the normal edition with fullcolor artwork. Extensive linernotes.”[label info]
|
2005 |
€13.00 |
|
| NORDVARGR BJÖRK, HENRIK / MARGAUX RENAUDIN |
Anima Nostra |
CD |
"Henrik Nordvargr Björkk is the colossus behind the world renowned acts Pouppée Fabrikk and MZ.412.
Combine the ritual aspects of MZ.412 and the darkest ambience from Nordvargr, with vocal materials and a rising spiritual awakening, and you get Anima Nostra - a collaboration between Margaux Renaudin and Henrik N Björkk that marks a new era in the vast cannon of the latter and as well as the former. Anima Nostra is also a visual experience, with artwork that will guide the open mind into deeper understanding.
The album features guest vocals by death metal mastermind Nader Sadek, recorded inside the sacred Sneferu pyramid in Cairo. Included is an alternate version of MZ.412's 'Mourning Star'; an even more ominous behemoth than the original, this track perfectly complements the rhythmical structures contained in the album. A remarkable synchronization of minds.
Comes in a magnificent, metallic-print adorned 6-panel digipak, with 8-page booklet, containing stunning alchemical artwork throughout by Renaudin." [label info]
|
2016 |
€13.00 |
|
| NORTHAM, MICHAEL |
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 |
|
| |
Suhina |
10inch |
Brilliant new recordings by the prolific cosmopolitan (currently residing in Berlin) MICHAEL NORTHAM. "Suhina" is a notion for the sound of the wind moving through the trees. Instead of doing field recordings of wind MICHAEL NORTHAM tried to capture this feeling & the essence of this process through instrumental recordings from Indonesian flute & keyboard. Nature phenomena seen as the true manifestation of the Unknown. Stunning full colour artwork by Indian artist ROHINI DEVASHER. White vinyl, edition of 500 copies, incl. inlay with text by M. NORTHAM.
"Das Thema der Platte hätte auch von der K Foundation stammen können. Michael Northam vertont hier den Wind zwischen den Bäumen, auf finnisch suhina genannt. Was sich als schöngeistiges Ambientexperiment versteigen möchte, ist in der Endsumme erstaunlich unesotherisch geworden. Northam zieht alle Register seines musikalischen Könnens und scheint zu den wenigen zu gehören , die eine Komposition über den Zeitraum mehrerer Jahre gedeihen lassen können ohne der Verlegenheit zu verfallen, nach wenigen Wochen den Abschluss herbeizuzerren.
Beide Vinylseiten wirken dabei sehr transluzent und klar abgegrenzt. Bisweilen hat man das Gefühl, die leisen Zwischentöne der Feedbacks und trudelnden Dronecluster reichern sich mit dem Knistern des Vinyls an, so fragil erscheinen die Zwischenbrücken der jeweiligen Komposition. Wie GAS ohne Beats, wohl aber um das 10fache am Pitchregler hochgeschraubt und mit einer majestätischen Würde, die man sonst nur in den leiseren Backgroundklangarien der frühen Tortoise und ihren »Millions Now…« wieder findet. Orgelähnliche Töne wechseln in malströmartigen Verschiebungen ihren Standort und verwischen auf diese Art und Weise Gefühl für Zeit und Raum, bilden auf diese Art und Weise den Soundtrack für den einsamen Spaziergänger im Wald ohne ein Klischee zu bedienen.
Das Northam sein Stück im Sommer für das Vinyl editierte kommt auch tiefenpsychologisch dem Material zugute. Selten hat eine so ausufernde Komposition eine so hohe Ereignisdichte aufgewiesen, ohne dabei zum Sturm zu mutieren. Auf diese Weise hört man den Wind weniger im Gebälk, dafür mehr im Gemüt." [Thorsten Soltau / AEMAG]
"Every once in a while you bump into a masterpiece, Suhina is one of those times.
The cover has amazing artwork by the Indian artist: Rohini Devasher. Bizarre beautiful flower lifeforms in full color on the front, and in black and white on the back. The vinyl itself is white and nice sturdy and thick.
The 10” is a Drone Records release and is part of the substantia-innominata series.
A concept that deals with concepts like” unknown / unthinkable / unidentifiable / unspeakable etc.
The story behind this record is very interesting. Michael Northam was camping in Finland in 2005 and a friend told him that the sound of the wind moving through the trees was called “suhina” in their language. From that moment Michael wanted to capture that feeling in sound.
Starting with field recordings what was difficult to do, and then moving to blowing on Indian flutes and the use of keyboards. While working on these two tracks Michael has been traveling through Belgium, Slovenia, India and France through 2006 and 2007. The final result was constructed in Berlin in the summer of 2008.
The record has two tracks, called “Through” and “Within”. Both are beautiful very carefully constructed pieces that run over ten minutes of playing time. Side A“Through” is distorted and blissful, full of harmony and truly uplifting and carrying you away with the wind, through forests and plains. It feels like there is lots of wind, gray skies and rain, but also lots of sun rays and rainbows. And total melancholic euphoria. The B side “Within” is a nice continuation. All i can say is that this release is a beautiful, carefully constructed emotional masterpiece." [Nil Pavlov / Hourglass Drops]
"These two tracks of hypnotizing dronemusik from the wandering sound artist Michael Northam originated from a night camping in the Finnish hinterlands, where he became fascinated with the sound of wind whipping through the trees. Field recordings have long been central to
Northam's work dating back to his tactile compositions of corroded ambience and titanic drone arcing; and even the aspects of wind had
featured heavily in work through the Aeolian harps he built in a bunker on a desolate Finnish island. Where those recordings were
attempting to harness to power of wind as something of an intersection between technology and the landscape, these two beautiful recordings of brightly shimmering ambience are more of a poetic response to the dynamics of wind. So those whispings and scatterings of summertime arctic winds introduce the first side of this 10" and quickly subside amidst Northam's billowing drones from his Indonesian flute and an overblown Casio keyboard. The resulting waving tones flicker with the
lingering glow of the sun arching toward the horizon at twilight, with golds, oranges, and reds radiating through each timbre. So striking are the colors that Northam gets through these tones, it can almost distract from his conceptual anchor. No matter, as he's creating one of his finest pieces in a long time. Nice!" [Aquarius Rec.]
|
2009 |
€12.00 |
|
| NULL, K.K. |
Kosmik Engine |
CD |
NULL at its best ! Großartiger Power-Ambient, mal flächig, mal loopig-rhythmisch strukturiert, sirrend-cyberspacig & glitchig-effektiv, immer mit inhärenter Energie, sehr eigen & keine Sekunde langweilig. TIP for cosmic noise-dancers !
“KK Null's Kosmik Engine is a unique digital ride through jarring surreal electronic soundscapes in a similar vein to recent works by Nobukazu Takemura, Merzbow, Zipper Spy and Cordell Klier. This CD release is housed in a deluxe cardboard gatefold package with artwork created by KK Null." [press release]
|
2002 |
€13.00 |
|
| NURSE WITH WOUND |
Thunder Perfect Mind |
do-CD |
We are pleased to announce that we will be releasing an expanded 2 CD version of Thunder Perfect MInd by Nurse With Wound.
Remastered by Andrew LIles, this set features a second cd of material chosen by Steven Stapleton who has also reworked the artwork.
www.copticcat.ca
|
2016 |
€22.50 |
|
|
Spiral INsana |
do-CD & BOOK |
Same content as the vinyl reissue but on two CDs inside an art book with screenprinted artworks.
www.discogs.com/Nurse-With-Wound-Spiral-Insana/release/9809026
|
2017 |
€27.50 |
|
|
Chance Meeting of a Defective Tape Machine and Migraine |
CD |
Chance Meeting of a Defective Tape Machine and Migraine, housed in a hand made sleeve with new artwork.
Remastered by Matt Waldron
When Matt Waldron attempted to make a tape to tape copy of Nurse With Wound's 'Chance meeting on a dissecting table of a sewing machine and umbrella' he didn't expect the machines to do their own remix. The music on this disc was performed by two slightly defective disobedient tape recorders.
https://icrdistribution.bandcamp.com/merch/chance-meeting-of-a-defective-tape-machine-and-migraine-nurse-with-wound-cd
"Made on the occasional of Steven Stapleton's first visit to the United States, this album revisits NWW's landmark debut LP "Chance Meeting on a Dissecting Table of a Sewing Machine and an Umbrella" from 1979, with a twist. In a way, it is a version of that LP. Certainly it starts off with the familiar outsider free music, but before too long the music mutates into something totally different. The sound warble and stretch and bend out of recognition creating a new and more disturbing sound environment. This destroyed version was provided to Steve by his American friend Matt Waldron, and fascinated him so much that he felt it needed to be published. It is the first NWW CD to be released in the U.S. Packaged in a stark black digipak." [press release on the first edition / Anomalous Records ] |
2021 |
€16.00 |
|
|
Deadlined (Nefarious Vol. III) |
CD |
This is the CD only from the Nefarious Vol. III boxset. A 6 - panel digipack with vibrant Santini artwork.
Reflections on reading ‘Landscapes of the Metropolis of Death’
by Otto Dor Kulka.
1. The Night Journey
2. Musulmans Odyssey
3. Torment
|
2022 |
€15.00 |
|
|
Brained By Falling Masonry/Cooloorta Moon |
pic-LP |
It could be argued that Brained and Cooloorta are the definitive Nurse With Wound EPs. Both classic and timeless fan favorites appear for the first time together on one single album. Both EPs marked a distinctive change in the NWW sound. Brained from 1984 showcases NWW at their mid-80s finest. The relentless churning and uncompromising music of \"Brained by Falling Masonry\" is complimented by the eccentric mania of JG Thirlwell\'s vocals. \"A Short Dip in Glory Hole\" takes you into the murky depths of a David Lynch influenced nightmare, a lysergic unhinged movie for the ears, which greatly influenced the Peter Strickland film Berberian Sound Studio. \"Cooloorta Moon\" from 1989 takes you in a whimsical direction and further highlights the boundless originality of NWW. The evolution of NWW utilizing more traditional instrumentation and bordering on the verge of song structures started coming to the fore on this EP. In addition to all the original songs from the Cooloorta and Brained EPs, the 2010 track, \"Sarah\'s Beloved Aunt\" perfectly closes this collection. Lovingly remastered by Andrew Liles. Again, this arrives in a beautiful die-cut sleeve with Babs Santini artwork.
https://www.dirterpromotions.com/releases/nurse-with-wound/alas-the-madonna-does-not-function/
|
2023 |
€31.50 |
|
|
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 |
|
| |
The Sylvie And Babs Hi-Fi Companion (expanded re-issue) |
do-CD |
Re-press of the long sold out deluxe re-issue of this 80’s classic from NWW. Expertly re-mastered by Denis Blackham. Now packaged in 6 panel matt laminated digipac, with special matt 12 page booklet with artwork by Babs Santini.
Includes a bonus disc of outtakes, unreleased material and remixes. |
2023 |
€20.00 |
|
| NURSE WITH WOUND & CONOR MCGRADY |
Entering the Forbidden Zone |
DVD + BOOK |
“Entering the Forbidden Zone” is a film by Conor McGrady, edited by John Buckley, with the soundtrack, “The Dream of Reason Brings Forth Monsters” by Nurse With Wound. The film was originally developed as a video projection for Nurse With Wound performances scheduled for Russia and for the Shepherds Bush Empire, London, but which were not able to take place due to the onset of the pandemic in 2020. The duration of the film corresponds with the duration of the planned performances. Imagery is taken from Conor McGrady’s artworks probing aspects of power or control. These often stark images have been combined with film footage to create a loose narrative journey into the dark, violent underbelly of contemporary society, generating a sense of unease or disquiet. Conor McGrady is an artist who has exhibited in New York, Chicago, Atlanta and Zagreb, Croatia. In 2022 his first solo museum exhibition “Entering the Control Zone” took place at the Museum of Fine Art, Split, Croatia. “Entering the Forbidden Zone” was premiered in conjunction with this exhibition.
www.conormcgrady.com
nskstate.com/article/exhibition-entering-control-zone/
www.conormcgrady.com
nskstate.com/article/exhibition-entering-control-zone
20 page colour zine. Fully recycled paper. Covers 250gm Shiro Echo paper. Photo pages on 160 Shiro echo paper. Uncoated and Saddled stitched.
Film soundtrack 'Dreams of Reason bring forth monsters' from DRAG ACID 6 release, by Nurse with wound.
https://www.nursewithwound.co.uk/shop/conor-mcgrady-drag-acid-entering-the-forbidden-zone
https://dragacid.bandcamp.com/merch/conor-mc-grady-entering-the-forbidden-zone-zine-dvd-music-by-nurse-with-wound
|
2023 |
€26.00 |
|
| NURSE WITH WOUND / GRAHAM BOWERS |
Excitotoxicity |
CD |
"The third studio album release from NURSE WITH WOUND & GRAHAM BOWERS. "ExcitoToxicity" ... an excess of most things, both mentally and physically, although exciting and pleasurable, can easily accelerate and rapidly become toxic ...
on a cellular level, deadly. We have thrown caution to the wind and gone overboard on the quality of the 8 Panel DigiPak artwork design and packaging for this release ...
why? ... Graham liked all Steven's proposed paintings for the album ... so Steven decided we should feature them all ..." [label info]
on a heavy board in full gloss, on a matte background. |
2014 |
€16.50 |
|
| |
Mutation ...The Lunatics are running the Asylum ... |
CD |
The CD is packaged in a special de-luxe matte 6 panel DigiPak.
"Physically: A mutation occurs when a DNA gene is damaged or changed in such a way as to alter the genetic message carried by that gene.
Mentally: Anything goes ... and it does.
A continuous musical track in six sections.
Steven's artworks were a result of a conversation with Graham, where the phrase ... The Lunatics are running the Asylum ... slipped out."
(from Graham Bowers website)
|
2015 |
€16.00 |
|
| O'MALLEY, STEPHEN & Z'EV |
Magistral |
CD |
"Not content with fronting Sunn 0))), who are currently one of the most influential metal bands on the planet, the prolific drone guitarist Stephen O’Malley (a.k.a. Soma) has participated in a bewilderingly vast number of subsidiary projects, including Thorr’s Hammer, Khanate, Lotus Eaters, Sarin, Burning Witch, Fungal Hex, Teeth Of Lions Rule The Divine, Ginnungagap, etcetera, Æthenor, Altar, KTL and Grave Temple. This time around, he’s teamed up with veteran industrial percussionist and all-round soundsmith Z’EV, and the result is Magistral.
Stephen O’Malley sent Z’EV a recording of a guitar solo lasting eight minutes and 42 seconds, which Z’EV proceeded to stretch out like Hubba Bubba, remix, add percussion to, and generally fuck about with. Those eight minutes and 42 seconds of guitar are thus transmogrified into five tracks and 49 minutes of instrumental industrial ambient music. The über-geeky track titles offer the listener few clues as to how to interpret the music – ‘6m 59s From Last 42s Left Channel Only - 26 Track Submix’, ‘13m 48s From 34s From 5m - 5m 34s - 20 Track Submix’ and so on. The fifth and final track is the most listener-friendly and accessible, featuring pounding tribal beats, lashings of feedback and recognisable guitar tones – elsewhere on Magistral, the sounds on offer run the gamut from shimmering metallic drones and abysmally deep bass rumbles to abrasive, scraping industrial noise, inviting comparison to blackened ambient acts like Archon Satani and Sistrenatus, as well as to Z’EV’s similar collaborative album with Polish drone act Hati.
An absorbing and intricate piece of work that repays repeated listenings, Magistral was mixed by Randall Dunn, noted for his work with Earth and Sunn 0)). The album is lavishly packaged in an oversized gatefold sleeve with artwork by one Stephen O'Malley. Does this man never sleep?" [Judas Kiss webzine]
www.southernlord.com
|
2007 |
€15.00 |
|
| OBLIVION ENSEMBLE |
Seraphim Hallucino |
CD |
Nach langer Wartezeit endlich ein neues Album für das US-amerikanische Projekt um BRANNON HUNGNESS und JOHN BERGSTROM, die vor Jahren auch eine EP für Drone Records eingespielt haben. SERAPHIM HALLUCINO ist ein erdrückend intensives, dunkles Werk basierend auf Instrumental-Improvisationen, die später im Studio ausufernd bearbeitet wurden... mit elektro-akustischer Finesse ausgestatteten Dronescapes, die geheimnisvoll & geräuschhaft tönen, man scheint wie in einem surrealen (Alp?)-Traum gefangen zu sein, immer wieder schlittern diese Sounds am Bewusstsein vorbei, um dann in überraschenden Arrangements wiederzuerstarken... eine einzigartige, filmische Atmosphäre wird erschaffen. Grossartiges Album!
"The music of Oblivion Ensemble remains as elusive and surreal as the ever-shifting cast of musicians and performerswho participate, knowingly, or unknowingly in their work. Founding members are John Bergstrom and Brannon Hungness (aka Figure). Hungness is a virtuoso experimentalguitarist and composer and a former member of the Glenn Branca Ensemble. Bergstrom is a computer-musicgearhead and a film composer with a classical music pedigree, and mastermind behind the industrial-noise assembly Torse. Seraphim Hallucino is Oblivion Ensemble’s fifth full-length release, the first since the virtual opera “Nightmare:Sinistrotorse” (Complacency, 1995). At Seraphim Hallucino’s source are strange, electro-acoustic improvisations of percussion, trumpet, voice, synthesizers and guitar. These improvisations are sculpted and sampled, twisted and turned, shaped into building and diminishing moments, and, at times appearing alone, pure and unmodified. Deeply imbedded in the music and fragmented lyrics are secrets, intertwining themes, voices, and imprinted messages. All come together to create an enormously complex, mercurial mix of surreal, dynamic and dark sounds. To fully appreciate the scope and intricacies of Seraphim Hallucino, headphones in a darkened room are highly recommended.
"The band most likely to compose a fitting soundtrack for the end of the world. ” [Sorted magAZine]
“Visionary gothic psychedelia. [The Wire]
"the most undefinable gorgeous musical anything that I have ever witnessed ... a beyond great performance, chilling and anxious.
[Best of Times]. In superb digipak, with artwork by Matt Vickerstaff of darkwaveart.co.uk." [press release]
"... Eerie textures are easily combined with chaotic and hectic movements. I am not sure wether we should see all twenty-two pieces as part of the total, or wether they are all separate, I rather believe the first, since some parts do flow nicely into each other, thus making the greater picture. There is a darker undercurrent on this CD, which doesn't make it easy to grasp, but it unfolds great beauty when explored in depth (and in dark, I presume)." [FdW / Vital Weekly]
|
2007 |
€13.00 |
|
| 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) |
7 Sjaele |
LP |
After releasing “Selv I Drømme Lyser Den Første Sne” øjeRum returns to Midira Records, with a new album, called 7 Sjæle.
“7 Sjæle” features seven tracks, splitted on two 20 minutes long sides. On side A you will find six short tracks focusing on different minimal themes and on side B a nearly 20 minutes long track takes time to evolve more minimal themes into a fragile soundwall of loops.
Even without all the typical sounds of a vinyl, you can also here the warm aura of the tracks by listening to the digital version. Nevertheless this record is made for vinyl listening.
We also wanted to focus on the typical collage artwork of øjeRum, so we divided the elements of the cover artwork into its origins, so that the sleeve comes as a die cut cover with a printed 12inch insert.
The album comes in an edition of 200 copies. 100 on transparent clear vinyl and 100 on golden vinyl. The album features a two sided inlay and a download code for the album and the full length video for “Syvende Sjæl”.
Physical copies are available here:
www.midirarecords.com/portfolio/ojerum-7-sjaele/
credits
released October 11, 2019
music and artwork by Paw Grabowski
mastering by Antonio Gallucci
https://midirarecords.bandcamp.com/album/7-sj-le
|
2019 |
€25.00 |
|
| |
When Birds Fly, the Eyes of Heaven can Rest |
LP |
Released by Aurora Borealis Recordings, 2017
Post-Production on Part 1 by Andrew Chalk
Description by the label:
As fans since 2014, we’re very excited to be releasing the debut vinyl from Danish multi-disciplinary artist øjeRum. Titled ‘when birds fly, the eyes of heaven can rest’, the LP features two extended tracks of aetherial, haunting and otherworldly beauty.
The cover art is a hand-cut collage, part of an ever growing body of incredible work from this talented Dane. The artwork expresses the audio perfectly. A floating, drifting haze of light, subtly shifting, organic. This is a world to lose yourself in.
credits
released January 30, 2017
"Denmark’s øjeRum makes a sublime vinyl debut with the anaesthetising ambient tones of When Birds Fly, The Eyes of Heaven Can Rest for London’s Aurora B [...]
Veritably curling off the platter like opium smoke, the two sides of When Birds Fly… place the listener in a gorgeous state of suspended animation akin to the blissful serenity encouraged by Kevin Drumm’s Imperial Distortion, but perhaps massaged with Elodie’s special oils, which should maybe come as little surprise as Elodie’s Andrew Chalk is responsible for post-production on Part I.
That first side is a real beauty, unfurling some 17 minutes of thee most languid, golden synth and choral harmonics and shivering partials with a patience and steadiness of hand that’s just an absolute pleasure to undergo. Likewise, Part II is a pure dream sequence, but this time riding dense, phosphorescing waves of organ drone with a deeply blue, melancholic quality that places it in a very special category on our shelves.
Don’t sleep on this one!"
- Boomkat
"[...] OJERUM ascends toward the heavens out over a sea of bliss (again, both sonically and visually), establishing a more distinct connection to the classical ambient model than ever existed in previous works - measured ebb and flow of gentle tones finding contemporary relatively sunny side up comparison to DAVID ANDREE, KYLE LANDSTRA and WILLAMETTE - i might think of this as OJERUM's moonshot, "a world to lose yourself in" indeed, exquisitely presented on neatly full color labeled clear vinyl with glorious "hand-cut collage" cover art
AURORA BOREALIS also did a cassette edition "in keeping with the artist's previous catalogue" but also in keeping with OJERUM's catalog it didn't last long - but rest assured this is as about as good as it gets for me in terms of a "proper vinyl debut" so might as well enjoy it as such, sure to be one of my absolute favorite ambient albums of the year."
-PSI Lab
https://oejerum.bandcamp.com/album/when-birds-fly-the-eyes-of-heaven-can-rest-2
|
2017 |
€27.50 |
|
| OLSSON, KRISTIAN |
Ligranorex |
CD |
"Dark ritualistic post mortem works from Kristian Olsson (Alfarmania / Survival Unit) made in 2012. Originally released as private cassette in small circulation. Here released with one additional track from same period." [label info]
"Kristian Olsson – of Alfarmania and Survival Unit infamy – should really need no introduction. Ligranorex is a solo recording, but not a new one. Originally issued on cassette in 2012, it has been reissued here with an additional track added for good measure.
In a general sense, Kristian’s solo recordings are not light years away from those of Alfarmania; however, a clear differentiator is that his solo recordings are far less aggressive and more ritualized in scope. The opening 22-minute title track, despite its ritualized undercurrent, is overall quite noisy and tonally blustery, begging comparison to Alfarmania works. But from second track Sippurator, the catacombic and esoteric depths at the core of this album are revealed. Here a track of dank cavernous ritualized atmospheres is fully realized, where shuddering darkness comes to life and seems to articulate the psychic membrane separating the real from the unreal and the waking state from the dream. Floating subdued male chants allude to human form, but equally these could be from a netherworld beyond the edges of waking perception. Later, cyclic bass drones provide greater movement to the composition, but the general mood is of drawing you into its fold. Haruspex announces itself with the wailing of a thighbone trumpet, dank and slow-paced ritual percussion, and sparse ceremonial chimes. These sit at the forefront of sound that articulates cavernous archaic depths sonically receding far off into the distance. Spanning 21 minutes, the mood and pacing is slow and drawling, whereas throughout the middle and later sections the percussive pulse becomes more urgent, coupled with a prominent ascending/descending drone loop. Although lerul is noted to be a bonus track, it fits perfectly with the flow, mood, and balance of the album. Grey-hued and tonally stark soundscapes are releveled and further infused with archaic ritual atmospheres. Yet with its incessant bass throb and wavering sustained drones, it at times begins to resemble a slightly more ritualized version of Anenzephalia’s subdued heavy electronics offerings.
Packaging wise, the six-panel digi-pack is exquisitely presented with a selection of Kristian’s artwork, including the same artwork used for the cover of Issue No.3 of Noise Receptor Journal." [Noise Receptor] |
2019 |
€12.50 |
|
| ONODERA, YUI |
Le Jardin |
mCD-R |
Es gibt wohl zur Zeit nur wenig ambient / drone Musik, die subtiler, zarter und fragiler daherkommt als die Kompositionen des Japaners YUI ONODERA. Auf "Le Jardin" werden weich wallende Klänge von Gitarre & Violine und tieffrequent pulsierende Synths verwendet, aber auch solche die durch "electroanalysis sound of water" entstanden sind (was immer das genau sein mag). 4 Stücke die eine besondere Atmosphäre hervorzaubern, die im Kern auf die totale Stille & Ruhe zu veweisen scheint..
So viel authentische Schönheit & Transzendenz verträgt man kaum...
"minimal & melodic drones composed by this japanese artist who's just released a 7" in the Drone Records series. full-colour printed 3" cd-r with artwork by cyril herry." [label info]
label: www.taalem.com
|
2007 |
€5.00 |
|
| OPIUM |
The Reborn of the Rebel Angel |
CD |
Sound squisitamente "ambient", che tende a fornire substrati costituiti da morbidi suoni di pads, onde cicliche, e nitide registrazioni di rumori naturali
Tracks:
01 One second ago
02 Electric rain
03 Deep breathe of syrens
04 Pride
05 Eternity
06 Tears in ocean
07 Reborn
Opium: Programming loops, drones, beats, natural recordings.
Composed and performed by Matteo Zini
between June and August 2000.
Features : Main sinth loops on tracks 1 & 6 are elaborations of samples taken from a free session by Emiliano Bianchi.
E-bow guitars on track 4 by Carlo Bardella.
Recorded and Mixed at LoveSupreme Recording Studio
Artwork by Hic Sunt Leones.
www.aliodie.com
https://aliodie.bandcamp.com/album/the-reborn-of-the-rebel-angel |
2000 |
€13.00 |
|
| ORA |
Morgendämmerung |
10inch |
Poetisch schöner, mit field recordings durchsetzter “mysterious drone-ambient” vom britischen Projekt......
”This 10inch vinyl only release by ORA, a group project which mainly consisted of Andrew Chalk, Colin Potter and Darren Tate - who both later moved on to become MONOS - active between 1991 -1998 features two hauntingly athmospheric tracks from their rare 'New Movements In G' CDR (150 copies) originally released on Darren Tate's own Gnome Records label in 1998, and were not included on the two Ora retrospective CD compilations 'Final' and 'After The Rainfall' (both on Colin Potter's own ICR label). For these recordings Ora were: Darren Tate, Colin Potter, Lol Coxhill, Daisuke Suzuki on the A-Side 'The Sun Sheds A Golden Tear', and Darren Tate & Colin Potter on the B-Side 'The Impregnable'.
Cover photography by Darren Tate. Inner sleeve artwork by Helen Potter. Cover design by Jonathan Coleclough. Edition of 500 copies in full color sleeve on clear vinyl.....”[label info]
|
2004 |
€13.00 |
|
| ORGANUM ELECTRONICS |
Solitude |
CD |
“In the everlasting silence of the universe
Dark clouds reflect upon shimmering water
The voiceless radiance of solitude
Dissonant overtones in dark clouds
Pierce the eternal veil of night
The rivers rage ceaselessly
Burst
Swiftly, cloud-shadows and sunbeams
White flames burning through a dark sky
Wrapped in its own eternity
Wild and forsaken
No sound is tamed
Release and rebirth, revolve, subside and swell
Inescapable and incessant in motion
The path of that unfailing sound
A harmony
Ancient and solemn
The voiceless radiance of solitude”
David Jackman’s music, both as Organum and under his given name, is typically characterized by repetition, brevity and a deadpan aloofness. He’s made plenty of extremely short (sometimes one-sided) 7” singles, albums containing multiple slight variations on a single piece, and albums of compositional (if not sonic) minimalism. It’s Jackman’s typical move to provide very little information beyond a word, or sometimes an image. Lately, he’s been predisposed to not even providing an image; just as few words as possible on a white background, nothing more.
Naturally, he does not seem to do interviews and has no web presence. As listeners, we’re left to apprehend the music as itself. No guidance into his hermetic world. I find it refreshing. Whatever your experience of an Organum album is, that’s all you get. Thankfully, each emission is thought- provoking enough to get lost in and monolithic enough to encourage both passive and active engagement.
8Howard Stelzer]
"In Vital Weekly 1216, HS reviewed 'Electronics' by Organum, which was quite the change for Organum’s David Jackman. In the last decade or so, Jackman used quite a lot of real instruments to construct a bizarre composition that may or may not be the same. After that came 'Stillness', not reviewed on these pages, and the name was changed to Organum Electronics, which is also the banner for 'Solitude', a thirty-six-minute piece of harsh electronics. Oddly enough, the artwork didn't change and is still similar to the artwork of his 'quieter' phase and which I think is pop art without the images. I have no idea if David Jackman acquired a set of modular electronics to do this, or if this is something he always had but not used a lot. The loud character of the music brings back memories of the very first record I heard from Organum, 'In Extremis'. I always thought that was made with acoustic instruments played with mechanical objects and slowed down, and I might be wrong. It had that density of ringing sounds that I enjoyed a lot back then and still do; Organum is one of the three or four musicians of whom I own a lot of records. That sort of density I also find in 'Solitude', even when it might be all electronics. It sounds like being trapped in the machine room of a large ship. The more you concentrate, the more little nuances appear in the music, an odd sense of movement in a standstill notion. The music might be loud, but it has not the similar aggression I find in some noise records. There is, odd as it may sound, a soothing aspect to the music. I am a fanboy, I admit that, and that means Organum can't do wrong. It was a bold move to change the style of music for David Jackman, but most enjoyable!" [FdW / Vital Weekly]
|
2021 |
€14.00 |
|
|
Quietude |
CD |
"Organum Electronics ‘Quietude’ is another intense aural experience. A dense work, consisting of buzzing washes of electronic sounds, reminiscent of the very first Organum recordings. In common with other recent works, the piece uses a carefully chosen set of sound sources, overlaid and structured to form a tapestry of shifting textures. Recorded in 2021 and edited by Alan Jones at RMS Studios South London, the CD comes in a 4-panel Digisleeve with graphic artwork by Jonathan Coleclough. UK-based composer and visual artist David Jackman began his career in the late 1960s in the experimental group Scratch Orchestra, co-founded by Cornelius Cardew. He started recording solo work in the late 1970s, mostly on self-released cassettes in very small numbers. In the early 1980s he established his main project, Organum, which evolved into a new version under the name Organum Electronics in 2019. Five OE albums have been released by Japanese imprint Siren Records. ‘Quietude’ (DS128) is the first OE release on Die Stadt.. This is the second of seven albums scheduled for release on Die Stadt up until the end of 2024. As well as several albums under the OE moniker these will include works under David Jackman’s own name." [press release]
"David Jackman sprach einmal bzgl. seiner sogenanten „Holy“-Trilogie davon, diese Arbeiten seien geprägt von „a lot of repetition; more accurately, near repetition. It is a quality which I find most elegant.“ Dieses Motiv der (Fast-)Wiederholung zeigte sich auch auf Alben wie dem 2018 erscheinenen Organum-Album „Raven“ oder auf den unter eigenem Namen erschienenen Alben „Herbstsonne“ und „Silence In That Time“. Die dort zu hörenden verhallenden Klavierakkorde, manchmal mit Glockenläuten, Orgeldrones oder dem Krähen von Vögeln, waren eine fast schon zirkuläre, vielleicht auch meditative Musik.
Dann erschien plötzlich mit Organum Electronics 2019 ein Album, das dieses Zurückhaltende, Meditative rabiat beendete. Über den Nachfolger „Stilness“ aus dem Jahr 2020 konnte man hier lesen: „Frühere Organumaufnahmen (z.B. die auf L.A.Y.L.A.H.) waren geprägt von einer Unruhe, die neuen Aufnahmen sind auf gewisse Weise etwas statischer, ganz so, als wolle Jackman seine eigene Interpretation von Wall Noise spielen. Auf 35 Minuten wird der Hörende von einem massiven Drone umgeben.“ Hier klang Jackman plötzlich wieder, wenn auch unter „elektronischer“ Fokussierung, so „noisy“, wie auf seinen frühe(re)n Aufnahmen.
Nach insgesamt fünf Alben unter diesem Projektnamen auf Siren Records kündigte Die Stadt aus Bremen vor einiger Zeit eine umfangreiche Reihe mit weiteren Veröffentlichungen an: Im Abstand von drei bis vier Monaten werden bis 2024/2025 insgesamt sieben Jackman/Organum-Alben (von denen zwei Doppel-CDs sind) veröffentlicht werden.
Gerade erschienen sind die ersten zwei Alben dieser Reihe: Die Tradition der (manchmal kurios geschriebenen) Einworttitel fortführend, sind „Quietude“ und „Darcknes“ – natürlich, möchte man sagen – von Ästhetik wie auch vom Klang sehr eng miteinander verbunden: Auf „Quietude“ gibt es einen langen Track (hier 40 Minuten lang), der den Hörer unter sich zu begraben droht (ganz im Gegensatz zu der im Titel angesprochenen „Ruhe“). Es gibt immer wieder leichte (Ver-)Änderungen, kaum wahrnehmbare Verschiebungen in der Textur, so dass diese Lärmwand –
das Label spricht nicht unzutreffend von „buzzing washes of electronic sounds“ – sich durchaus (ver-)ändert. Was im Gegensatz zu den fünf vorhergegangenen Alben auffällt, ist, dass tatsächliche neue (bzw. alte) Elemente hinzukommen. Plötzlich tauchen auf „Quietude“ nämlich inmitten des Surrens und Dröhnens Glocken auf, die auf früheren Aufnahmen zu finden waren.
Das gleichzeitig veröffentlichte Album „Darcknes“ besteht aus einem 48 Minuten langen Track, auf dem neben dem Läuten von Glocken auch noch das Krähen von Raben zu hören ist.
Es ist mit Hinblick auf David Jackmans Zurückhaltung hinsichtlich öffentlicher Äußerungen letztlich müßig, herauszulesen zu wollen, was seine Konzeption hinter diesen Aufnahmen ist, aber letztlich spielt das auch keine Rolle, schließlich sagte er selbst einmal vor vielen Jahren in einem Interview mit Paul Lemos: “Really, there’s no mystery to the music; I just make it because I want those sounds to exist. There’s no other reason.” Ich habe in einer früheren Besprechung von Jackmans Arbeit einmal – in Anlehnung an eine Studie zum literarischen Expressionismus, in der u.a. die Prosa Benns dieses Attribut bekam – diese als “absolut” bezeichnet. Man kann gespannt sein, was die nächsten Veröffentlichungen bringen werden." [MG / African Paper]
"It's never easy to review music by David Jackman, not work under his own name, or work as Organum, or as it is these days, Organum Electronics. He used the latter on five releases by Siren Records, and when they announced the fifth would be the last, I assumed (for no particular reason) that would be the end of that name. Maybe because Die Stadts hasn't been too active with new releases, I didn't realise they could release more work, as basically it's the other go-to place for Jackman to release his music. They announced a series of seven works by Jackman, and their announcement didn't say whether they'll all be by Organum Electronics. The first two are. I didn't return to the five previous albums, partly out of the usual lack of time and maybe because I thought of this as
making a fresh start. Listening to these two new releases, I remember what the previous ones sounded like. Here also comes what I find 'difficult' about reviewing Jackman's work, and that's a lot of it is very similar, but then, if you see the cover, four panels with the band name and the title, and nothing else, you know the man likes repetition. And yet, most curious indeed, one is never too sure if the repeat is a one-on-one copy or a slight variation thereof. These two works may sound the same, but they aren't. In 'Darckness', some field recordings pop up, church bells, among the dense mass of electronic sound, whereas 'Quietude' seems all electronic throughout. Both seem to have been cut from more extensive work, ending quite abruptly. The overall sound design is quite similar in both pieces, and they share a general grimness about these works, as with many of his works. Think of this as being locked up in a factory, with sounds buzzing everywhere, and reminding me of the early harshness of Organum, sans electronics: dense, minimal and dark. Can I finish with 'another excellent work'? It's most likely I have used that before in connection with Jackman's work, and I will probably repeat that in the future." [FdW / Vital Weekly]
|
2023 |
€15.00 |
|
| |
Darcknes |
CD |
"Organum Electronics ‘Darcknes’ is the sibling album of ‘Quietude’ (DS128). It is a similarly dense work, consisting of buzzing washes of electronic sounds, reminiscent of the very first Organum recordings. In common with other recent works, the piece uses a carefully chosen set of sound sources, overlaid and structured to form a tapestry of shifting textures. Recorded in 2021 and edited by Alan Jones at RMS Studios South London, the CD comes in a 4-panel Digisleeve with graphic artwork by Jonathan Coleclough. UK-based composer and visual artist David Jackman began his career in the late 1960s in the experimental group Scratch Orchestra, co-founded by Cornelius Cardew. He started recording solo work in the late 1970s, mostly on self-released cassettes in very small numbers. In the early 1980s he established his main project, Organum, which evolved into a new version under the name Organum Electronics in 2019. Five OE albums have been released by Japanese imprint Siren Records. ‘Darcknes’ (DS130) is the second OE release on Die Stadt. This is the second of seven albums scheduled for release on Die Stadt up until the end of 2024. As well as several albums under the OE moniker these will include works under David Jackman’s own name." [label info]
"It's never easy to review music by David Jackman, not work under his own name, or work as Organum, or as it is these days, Organum Electronics. He used the latter on five releases by Siren Records, and when they announced the fifth would be the last, I assumed (for no particular reason) that would be the end of that name. Maybe because Die Stadts hasn't been too active with new releases, I didn't realise they could release more work, as basically it's the other go-to place for Jackman to release his music. They announced a series of seven works by Jackman, and their announcement didn't say whether they'll all be by Organum Electronics. The first two are. I didn't return to the five previous albums, partly out of the usual lack of time and maybe because I thought of this as
making a fresh start. Listening to these two new releases, I remember what the previous ones sounded like. Here also comes what I find 'difficult' about reviewing Jackman's work, and that's a lot of it is very similar, but then, if you see the cover, four panels with the band name and the title, and nothing else, you know the man likes repetition. And yet, most curious indeed, one is never too sure if the repeat is a one-on-one copy or a slight variation thereof. These two works may sound the same, but they aren't. In 'Darckness', some field recordings pop up, church bells, among the dense mass of electronic sound, whereas 'Quietude' seems all electronic throughout. Both seem to have been cut from more extensive work, ending quite abruptly. The overall sound design is quite similar in both pieces, and they share a general grimness about these works, as with many of his works. Think of this as being locked up in a factory, with sounds buzzing everywhere, and reminding me of the early harshness of Organum, sans electronics: dense, minimal and dark. Can I finish with 'another excellent work'? It's most likely I have used that before in connection with Jackman's work, and I will probably repeat that in the future." [FdW / Vital Weekly]
|
2023 |
€15.00 |
|
| ORNAMENT |
Unicorn Lullaby |
CD-R |
Wiederveröffentlichung dieser schönen ORNAMENT-CDR mit recht einfach gestricktem, aber sehr wirkungsvoll-hypnotischen loop-ambient/drones, warm und dunkel, zwischen TAM QUAM TABULA RASA und AMON? Feine Fullcolour-Cover-Artwork auch ...
sehr zu empfehlen!
„Unicorn Lullaby" was self-released by Ornament in a few copies back in 2000 and is now published by Afe in a fully remastered and repackaged version that showcases the author's visionary attitude. Due to the poor distribution of the original version, this is probably Ornament's less know work, but it's probably his best attempt at Dark Ambient music contaminated with Industrial elements. If we look for some kind of internal reference wondering through the whole Afe catalogue, this can easily be found in Never Known's "Dawn of an Era", but "Unicorn Lullaby" has of course a personality of his own. According to his author, "Unicorn Lullaby" is an oniric / visionary concept in sounds, a travel to and back from an imaginary collapsing world where the "Unicorn Shaped Labyrinth" is the entrance / exit. "Noctifer" is the star shining above this imaginary world, while the gear-sounding "High Density of Grief" is a representation of the slave-citizens forced to work in a consuming production-chain and "From Concealed Gardens" tries to describe its mysterious flora and fauna. After entering the imaginary world, the protagonist wakes up ("I Opened My Eyes in the Liquid Room") and fight against his "Fiendish Ego" as the world begins to collapse ("Under Shivering Columns") as predicted by ancient priests who were charged with heresy ("The Heretics' Heritage"). This heritage is the only key that allows the protagonist to survive the ordeal and return to the place where he belongs as only a few traces of past life surround him ("Only Life Remains"). The distinctive overall sound of the album is subtly achieved with a rich shady substratum of distant sounds that are intentionally and elegantly kept in the background and are fully appreciable at a mid volume level.” [label description]
www.aferecords.com
|
2005 |
€12.00 |
|
| ORPHAX |
Saxophone Studies |
LP |
Side A/Track 1 of this record contains frequencies and effects (or as someone called it "non-harmonic multitones") that do not work over headphones or laptop speakers. It is recommended to listen on a good sound system on high volume.
Saxophone Studies is an album that took multiple years to form. Already in 2006 I asked friends and other musicians if they could send me audio files to make music out of this. This music never really happened, but one of the files I received was some saxophone recordings by James Fella (Soft Shoulder / Gilgongo Records). In 2017 while browsing my computer for audio files I came across this recording and finally took it up to create work from this.
Straight from diving in these recordings I had a clear goal for these recordings. The result is a 17 minute long piercing drone work where due to the use of multi-layering and rough cutting a psychedelic effect takes place. The "non-harmonic multitones" collide with each other in the room but also your ears to create a mesmerizing mind fuck.
After this track was finished I was eager to create a second piece for saxophone, and I was really happy for this to work with my father. So late December 2017 I brought my recording equipment to my parents where my father played his various saxophones for me.
In this work, which is very bass heavy, I worked with all different saxophone sounds but the focus lies on the baritone. Again with multi-layering and here also phasing of the sounds a slow evolving piece grows and grows. Other than the first piece here I wanted to create a more relaxed listening experience, though still when you dive into the details strange patterns appear with beating sounds, from which in the end the melodic parts of the saxophone slowly emerge.
For this album I want to thank James and Jozef for their contributions, Rutger Zuydervelt for the help with the artwork and Jos Smolders for the mastering and advice, and the dear people from Monotype Pressings for the help in making this happen.
It was a long journey with quite some hiccups, but we made it.
credits
released September 28, 2018
Saxophone by James Fella (JF) and Jozef van Erve (JvE)
Composition and music by Sietse van Erve / Orphax
Mastered by Jos Smolders at EARLabs
Design by Sietse van Erve with help from Rutger Zuydervelt
https://movingfurniturerecords.bandcamp.com/album/saxophone-studies |
2018 |
€16.50 |
|
| ORSI, FABIO |
Picture myself in a cloud (speaking through thought) |
CD-R |
FABIO ORSI ist der neue italienische Meister trancig-verträumter Ambient - & Dronesphären, auf dieser limitierten RURALFAUNE CDR finden sich zwei lange Stücke voller dichter Drone-Layers und Gitarrenloops, das zweite Stück kreszendiert in einen absoluten LICHT-DRONE hinein! Anklänge an FEAR FALLS BURNING, EXIT IN GREY, AIDAN BAKER, aber insgesamt noch sanfter & subtiler, und stärker Electronica-verwandt.... TIP for dream-droners !
"Another journey over Italy in a sky full of drone meditations and floating melodies. An impressive work by one of the new master of drone music - psych butterflies artwork by George Parsons of Dream Magazine - " [label info]
http://www.myspace.com/ruralfaunelovesyou
|
2008 |
€8.00 |
|
|
Sterminato Piano |
LP |
I've known Fabio Orsi for almost fifteen years now, artistically and humanly. Since the days of "Osci" his first album released by SmallVoices, my label at that time, up to some essential records published by A Silent Place, another label that I managed, in a period that seems almost unrepeatable. Each of his work, whether in music or photography, is always a certainty for me, but lately also a surprise; in fact Fabio Orsi has learned to surprise himself and surprise us: this new creature is different from his previous releases, but is always touched by that talent and crystalline class that distinguishes him; after all these years, I can affirm it without fear of appearing too enthusiastic or even partisan. The new work "Sterminato Piano" settles among the best things of Fabio Orsi, but also in some ways, among the most unexpected and original. After eight years in Berlin, his return to Puglia (south of Italy) is restoring new life and new creativity and new energy. In fact, the new album is full of energy and warmth, with patterns, sequences and dancefloor beats of our dreams. Amazing cover artwork wizardly made by Italian illustrator Mastereaster.
https://fabioorsi.bandcamp.com/album/sterminato-piano
|
2019 |
€18.00 |
|
| |
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 / ALESSANDRA GUTTAGLIERE |
Giardino Forico N.1 - Napoli |
do-CD & BOOK |
60 pages artwork-photo book (cm 17x24) + 2xCD, ltd. 100 copies
The city has passed through us like a big wave of dust carried by the wind
we found ourselves covered by debris, passing skeletons
shadows of leaves, passages, spells, voices of pianos from the windows
memories of places that live in several times
ardours and fervours and odours
we have immortalized them
we have brought the simulacra with us
we have watched them from the Estrada Atlantica
from the singing pits of Salento
from the immense Metrosideros of Monserrate
with the organ of a church in the Itria Valley
from our home
in one year of work the Giardino Forico appeared
it behaves like life, it brings
it appropriates the airs, the colours, the languages and the ways
it does not represent
it shows its vigour
which is our own
The Giardino Forico is a way of giving back a place, a knowledge, a humanity through our languages. It is the result of a vital artistic process, we listen and observe the space and we speak it.
13.silentes.it/private_sounds/sps1827_orsi_guttagliere_giardino_forico.htm
|
2018 |
€34.00 |
|
| OSSASERPIA |
Mvsic for Solve et Coagvla |
CD & book |
"Vladimir Igoshin (Ossaserpia) has created Opus alchymicum, spectacular account of the »work« of the musickal alchemists who developed a symbolic kind of psychochemistry, aimed at producing the gold of mystical illumination through celestial musick. See theories by Robert Fludd (Robertus Fluctibus) and Rosicrucian theories of the monochord. Very unique drone chamber musick with some strange industrial elements. Vladimir Igoshin is known for his contributions to HCD compilations such as Lust From The Underworld and/or AL: 100th Anniversary. Special art-work for an oversized hard-bound book (A5) designed by fantastic Madeline von Foerster! Special limited edition consists of 500 hand-numbered copies in hand-made box covered with rustish top-notch embossed Quilt 120g paper. The oversized embossed hard-bound book (A5) printed on Gmund Kaschmir cream 170g and embossed CD sleeve-jacket again on Quilt 120g paper. Very rare print for all fans of occult & alchemy! Special limited box on request only!" label notes]
"Genre: Dark Ambient / Drone / Neo-Classical (Chamber) / Industrial.
In today’s climate where record labels seem intent on cheaply mass produced releases to make a few quick bucks it comes as a relief to find a record label that actually cares about the presentation to match the music they release. Stepping into the, highly deserved, limelight is the Czech HORUS CyclicDaemon record label founded by Martin Mrskos. All their releases, well the ones I’ve been lucky enough to track down, have been impeccable in every respect. What went before though has been overshadowed by this latest release by the artist Vladimir Igoshin recording as Ossaserpia. I doubt many labels would have the balls to put out a recording housed in an actual hard bound book, A5 sized, in quality 120g paper and beautifully illustrated by the artwork of Madeline von Foerster. My eyes still can’t take it all in. I’m not by any means up on Art by any stretch of the imagination but I knows what I like and I like what I see set before me. The illustrations saying more than any amount of words can possibly describe. Which they need to as there are no words to accompany the pictures. A wise decision as it leaves the listener to use their own creative imaginations to make of it what they will as they listen to the music. For this book is best used in conjunction with the recording. Which I suspect was the way it was meant to be. Separated both are superb stand alone products. Together they open up undiscovered realms that feeds the senses. The touch, smell and sights of the book complimented by the aural grandeur that Vladimir has composed.
Based on the theories of Robert Fludd (Robertus Fluctibus), 1574-1637, a Kentish Anglican alchemist, mathematician, astronomer, cosmologist who wrote thirteen published works in his lifetime and the Rosicrucian theories of the monochord. Please Google these for I have not the time, nor the intellect required, to go into great detail here, the music expands on the theory that alchemists developed a symbolic kind of chemistry aimed at producing the gold of mystical illumination through celestial music. Clear as muck then. The concept may well be shrouded in unintelligible mystery to a Neanderthal knuckle scraper like myself but even I could see what the artist has tried to envision through his music. Featuring, what I can only call, a Medieval vibe mixed in with modern Industrial noise and drone sensibilities the twelve tracks are a treat for the ears. Though you will need to give it a couple of spins to really get inside every nuance that Vladimir has created.
From the off perceptions are challenged by the dirge drones and assorted muted ‘noise’ effects that spread like wildfire from the speakers. The bass tones are heavy duty and tinted with a dark apparel. Move past this introduction and the speckles of Neo-Classical / Chamber music begins to shine forth and suddenly the music takes the semblance of form as Vladimir throws all manner of different black musical combinations into the cauldron that bubbles with an intensity you never realised possible. You are treated to a music born of fire and brimstone from an age past brought to life in the present day. As your eyes scan and feast on the pictures of storm clouds, dragons and entwined couples the music conjures them in the minds eye. At its heart the music is surprisingly downbeat and steeped in dark oppressive moods where tranquillity appears smashed to a pulp. For all the unsettling swings the music takes, and it takes a lot, it ends on a note of triumph. A glimpse of fortitude winning against all odds.
Unlike many recordings that have tried to re-create the whole ‘magical’ dark ambient experience ‘Mvsic For Solve Et Coagvla’ is the only one I’ve encountered that has actually got under the skin of its subject matter. I’ll not pretend that it is by any means an easy recording to get into and many of you may be put off by the way Vladimir has tackled the subject in such an uncompromising way. This might have been the Achilles heal for a lesser experienced musician but Vladimir’s music is created in such a way that through repeated plays you become more accustomed to the sounds until finally the clouds break and the full visionary aspects opens up before your ears. If there was such a thing as a perfect 10 for both presentation and music working in harmony and tandem with each other then ‘Mvsic For Solve Et Coagvla’ would be it. I tell you now that it will be one of the most sought after recordings for music lovers and collectors alike this year. With only 500 numbered copies you’ll need to act fast…or live to regret it." [Alan Milne / Heathen Harvest]
label-website: www.horus.cz
|
2006 |
€26.00 |
|
| OSSO EXOTICO |
Church Organ Works |
CD |
Die Aufnahmen zu diesem Album wurden ausschließlich in Kirchen gemacht – Orgelstücke, wie sie minimaler und freischwebender kaum sein können. Ätherisch & von mitunter monumentaler Art, aber auch von zarter, heiliger Stimmung. Wieder eine aussergewöhnliche CD der Gruppe aus Portugal. Sehr feine Artwork (Klappcover).
"The three piece group from Portugal explore in ten tracks the possibilities of the church organ. The members play in various combinations on different organs. The outcome is very varied. The opening piece is barely audible, but the second piece is a loud, repitive, all register open one. Of course it's hard to see this music without any religious overtones, but Osso Exotico don't give a clue in that direction: all their pieces are untitled. Meditative pieces in most cases, but less minimal then the known minimalist who grew up with playing organ. This is a different approach then Charlemagne Palestine would do, but none the less this is quite interesting." [Frans de Waard - Vital weekly]
|
1998 |
€8.00 |
|
| OVAL LANGUAGE / RLW / DAS SYNTHETISCHE MISCHGEWEBE |
Sprechzimmern (Hommage an Carlfriedrich Claus) |
CD |
"Distance, busyness, sporadic communication occupied with other topics are often the reason why common interests are discovered only late and by accident. Carlfriedrich Claus, sound poet and graphic artist with a largely concealed output, working in the no-man's-land of Annaberg-Buchholz, near Chemnitz, Germany, was with some exceptions only discovered after the fall of the wall. Creating a work of vocal utterances not only composed with great sophistication, but underlined with intense philosophical research.
How could we not be enthusiastic and even euphoric when digging through the layers of his multi-faceted body of work that has progressively been published as deserved, which wasn't the case during the GDR regime that had him withdrawn his title of a professional artist. Concentrating on a few basic elements, intuition and chance as creative tools backed by intense theory and contextualization, working methods we all strive for ourselves. It was just a matter of time and time it took, but it was worth it, to do our own take inspired and in homage to this great man to whom we feel so linked.
This is not a collaboration of working on each other's sound files, it rather is to let each other know, to compare where each participant's exploration is positioned and how the distinct works could be arranged together in order to allow for a varied but continues listening session. A process of filtering and combining, adding and eliminating, varying density and permeability.
a homage to Carlfriedrich Claus
of fermenting language / aggregated resonances / swoosh-combined speech transparency:
historical-philosophical vibration / distorted densification = experimental retail salesman
/ articulating principal latency / private suspect statesmanship / destructive-combinatorial / an evening live in annaberg - buchholz: tol & rlw & dsm / chronicled, condensed and constellated in 2014.
full coloured artwork based on an original drawing by Guido Huebner (dsm)
edition of 300" [label info]
scrotum-records.de
|
2015 |
€12.00 |
|
| 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 |
€12.00 |
|
| PETROGRAD DRONE GATHERING / MOSCOW NOISE MANUFACTORY |
PoluDrema 26.11.2021 |
MC |
Petrograd Drone Gathering exists since 2016; this project was conceived by Evgenii Savenko as an ensemble of like-minded musicians from St. Petersburg, united by the common idea of free undulating musical expression, saturated with the forest psychedelia of the Karelian isthmus.
Moscow Noise Manufactory is a similar creative union of metropolitan musicians, working in many genres from drone ambient and noise to psychedelic jazz and doom metal. The project was organized by Georgiy Orlov-Davydovskiy in the spring of 2021. In fact, both formations are live laboratories exploring the impersonal matter of sound, and the appearance of their joint recordings was just a matter of time.
Such a recording was made at the “PoluDrëma” (“semi-slumber”) party, which took place on the night of November 26th-27th, 2021 at the Red Eyes Moscow club. From midnight until morning the St. Petersburg musicians played in sequence with artists from Moscow, for eight hours weaving a seamless fabric of oneiric sound for an audience which was either sleeping or drinking tea. These recordings were later edited in studio and condensed in two 45-minute pieces, showcasing all versatility of experimental ambient music.
zhb.radionoise.ru/eng/zhb-lxxxvi.html
* * * * * * *
Петроградское Гудельное Собрание существует с 2016 года, этот проект был задуман Евгением Савенко как ансамбль дружественных музыкантов из Санкт-Петербурга, объединённых общей идеей свободного волнового звукоизвлечения, пропитанного психоделией лесов карельского перешейка.
Московская Шумовая Мануфактура – похожий по своей сути творческий союз столичных музыкантов, работающий во многих жанрах от дроун-эмбиента и нойза до психоделического джаза и дум-метала. Проект был организован Георгием Орловым-Давыдовским весной 2021 года. По сути, обе формации представляют собой живые лаборатории по исследованию безличностной материи звука и появление их совместных записей было лишь вопросом времени.
Такую запись удалось сделать в Москве на мероприятии "ПолуДрёма", прошедшем в ночь с 26 на 27 ноября 2021 в клубе Red Eyes. С полуночи до утра петербургские музыканты играли поочерёдно с московскими, на протяжении восьми часов сплетая бесшовную ткань онейрического звукового сопровождения для спящей или пьющей чай аудитории. Итоговые записи были препарированы в студии и сконденсированы в две 45-минутных пьесы, демонстрирующие всю многогранность экспериментального эмбиентного звучания.
zhb.radionoise.ru/rus/zhb-lxxxvi.html
credits
released April 18, 2022
ZHB-LXXXVI
Recorded live at PoluDrёma festival on 26.11.2021, Red Eyes Moscow.
Petrograd Drone Gathering: Alexey Korablin (Reconstruction of Moss), Dmitry Maslyakov (Mira Drevo), Evgenii Savenko (Lunar Abyss), M.M. (Kryptogen Rundfunk), Pavel Dombrovskiy (uhushuhu), Lilia Akivenson (tremorkikimor), Alexandra Isaeva (Jum-Jum).
Moscow Noise Manufactory: Georgiy Orlov-Davydovskiy (Yudol), Dmitriy Bubinskiy (Old Moss), Alexandra Isaeva (Jum-Jum), Vladimir Cherepanov (t_error 404), Philipp Datura (Datura Metel), Fedor Kovalev (Waldgrenze), Anton Kochubeev (Acanto), Alexey Vasilev (Droning Room), Boris Drone ([bɔː]), Alexandr Rust (Cotton Rust), Koloyar Dreved (Hladna), Ilya Suzdaltsev – moscownoisemanufactory.bandcamp.com
Editing, mixing and mastering – Pavel Dombrovskiy, M.M., Georgiy Orlov-Davydovskiy, Gleb Ardabyev
Artwork and design – Pavel Dombrovskiy, M.M.
https://zhelezobeton.bandcamp.com/album/poludr-ma-26112021
|
2022 |
€12.00 |
|
| PHALLUS DEI |
Black Dawn |
do-LP |
neues Album, Februar 2017, lim 250 copies in black vinyl, Gatefoldcover, with 16min Bonusmaterial "Corpus" (not on CD)
feat. Jacqueline Hamelink (Cello on Starman and Zauberwald), Peter Brötzmann (Tenor Saxophone on Starman), Niels van Hoorn (Bass Clarinet on Corpus) and Merzbow (Electronics on Corpus)
Review BLACK AUDIO / April 2017:
"With an extensive musical career behind them and releases stretching back to 1988, you could be forgiven for thinking that a band like this is way past its peak. Far from it, if this new material is anything to go by.
Droning guitars are savage in their approach on opening track, ‘Slewed’. Industrial clatters and Dark Ambient fill out the backdrop of a cavernous production that adds to the brutality. In stark contrast, the Darkwave synths of ‘Starman’ provide their own drones, doubling up in a loop with organic instrumentation. The resulting hypnosis, becomes all the more peculiar once the Jazz lunacy of saxophones, blare out unexpectedly, providing a visceral, apocalyptical backdrop to the proceedings. If anything this was reminiscent of some areas of SWANS’, ‘The Seer’. Great stuff.
The threatening atmospherics of ‘Zauberwald’ provide genuine tension; as layered instrumentation build into a huge monolith of sound, with only the whisperings of lunacy and distortion for company.
With the spacious ambient of ‘Krieger’ providing the only break in the proceedings; it’s worthy of note that this still also manages to belt the listener with hammer-like doom precision, leading up to the guitar noise of the end game that is ‘Stigmata’, that provides its own horrors.
In parts, ‘Black Dawn’ is heavier than a sack of spanners. The true genius lies in Phallus Dei’s attention to harmony amongst a sea of aural bloodshed; providing an intricately layered slab of an album that is as impressive as it is destructive. It could just be the best new album I have heard this year. (9.5/10)
Review BLACK Online Magazin: "Ganze 7 Jahre nach dem Album „A Day In The Life Of Brian Wilson“ und dem folgenden Remix-Album... erscheint jetzt endlich ein neues Werk von PHALLUS DEI. Nicht ganz überraschend schlägt das inzwischen 7. reguläre Album der Band mal wieder eine völlig andere Richtung ein und „Black Dawn“ dürfte wohl das bisher dunkelste wie harscheste Werk der Band sein. Bis auf wenige geflüsterte Worte im „Zauberwald“ und auf „Corpus“ diesmal komplett instrumental gehalten, gestaltet sich „Black Dawn“ als pechschwarzer Malstrom aus strudelnden Noise-Drones, scharfkantige Gitarren-Feedback-Riffs, wuchtigen Doom-Drums, hektischen Streichern und nervösen Free Jazz-Attacken. Als BOHREN & DER CLUB OF GORE treffen auf die SWANS, PAINKILLER und MERZBOW könnte man das Ganze recht treffend bezeichnen, wobei letzterer selbst auf dem abschließenden Track „Corpus“ als Gast vertreten ist. Dieser Track ist übrigens gegenüber der CD-Ausgabe exklusiv, auf welcher sich dafür aber „Stigmata“ mit ebenfalls MERZBOW-Beteiligung befindet. Ein weiterer illustrer Kollaborateur auf „Black Dawn“ ist dann Peter Brötzmann, der mit seinem schrillen Tenor Sax den „Starman“ in noch weitere Höhen treibt. Die Aufteilung der insgesamt 5 zum Teil sehr langen Tracks auf die 4 Vinyl-Seiten finde ich sehr passend, da man so nicht völlig von der dröhnenden Wucht im Ganzen erschlagen wird. So hat man auch genügend Zeit und Muse, sich in die einzelnen Stücke rein zu hören und dabei immer wieder neue Details wie Facetten zu entdecken, die sich beim normalen am Stück hören nicht gleich auf den ersten Blick erschließen. Ein wahrlich großartiges Album, dessen Sound übrigens ebenfalls absolut treffend durch das gesamte Coverartwork illustriert wird. Das Doppelvinyl im prächtigen Klappcover ist hervorragend wie sauber gepresst und es wurde hier selbst nicht an gefütterten Innenhüllen gespart! Neben der Auflage von 300 Stück im schwarzen Vinyl gibt es noch nur direkt über Dark Vinyl Records 49 Exemplare im marmorierten Vinyl zu beziehen." (Marco Fiebag)
|
2017 |
€22.50 |
|
| PHANTOM SHIP |
Spheres |
CD-R |
"Here at Winter-Light, we have been a follower of Phantom Ship for quite some time now. So we are extremely happy to announce that the second release on the Winter-Light label is that of 'Spheres' by Phantom Ship.
'Spheres' is the third studio album from Italy's Phantom Ship, following on from the self-released I.G.N.O.T.O. , in 2012. As with the previous releases, one gets the feeling when listening to 'Spheres' of being a passenger. A passenger aboard this vast, ghostly vessel that eerily glides through the galaxy, or across the thoughts and expanses of the inner mind; equally just as distant. Aboard this vessel, you become an observer. A witness to the might, power and wonders of the universe. A coming together of great forces; clashes between energies of immeasurable magnitude, such as on the track 'Orbiting Iron Spheres'. On this offering, quite possibly his best to date, we are treated to 6-tracks of symphonic and celestial awe. The universe is indeed a haunted house and Phantom Ship is one of its bigger spectres.
In the words of the artist himself - "'Spheres' is inspired by the eternal dialogue between the inner and the outer sphere of the human psyche."
"The hidden harmony is better than the visible" - Heraclitus Of Ephesus
The sounds were forged by Roberto Faloci at the Port of Shadows Studio, Perugia, Italy in the Winter of 2013/14. All tracks have been mastered by Peter Andersson of Raison D'Etre. The front cover design and original art concept was conceived by Roberto Faloci. The artwork and layout was produced by Midnight Sun Studio, as well as the promotional video.
1. Intro - 2. Orbiting Iron Spheres - 3. Warp7 - 4. Plasma Core - 5. Chakras Chant - 6. Cygnus
This professionally factory produced CD-r comes in a beautiful 6-panel digipack. 6 tracks with a total running time of 45:30 mins. The release is strictly limited to 150 copies." [label info]
www.winter-light.nl
|
2015 |
€12.00 |
|
| PHILLIPS, DAVE |
Sixth Mass Extinction |
LP |
"black vinyl lp in embossed sleeve, edition of 300. comes with a free 8 page newspaper featuring articles that offer a broad view of what homo sapiens has achieved in terms of coexistence and in taking care of its home.
1.
Things Falling Apart 21:12
2.
Radical Hope 20:12
about
things falling apart - composition for three PA’s (stereo version):
the original 6 channel piece was commissioned by bad bonn kilbi festival düdingen switzerland 2018.
radical hope - live action (studio version):
this incarnation of live action was initiated in january 2016 and has developed since. triggered by a broken heart, it’s a critical analysis of subjective behaviourisms, self-reflections, self-criticisms and conclusions thereof. the subsequent translation of derived intentions into ritualised actions include purging, activating learning and healing processes, self-betterment, empowerment and hair-burning. has since morphed into a piece about the relationship of the human as a species with planet earth as a cherished entity, such as a loved one, a friend, a partner, a companion, a parent or a family member, a home or an origin.
all audio by dp. decomposed may to november 2018 for schimpfluch. mastered by riccardo mazza. artwork by brett wagg using photos by dp.
https://totalblack.bandcamp.com/album/sixth-mass-extinction
Dave Phillips INTERVIEW by CHAIN DLK
( By Vito Camarretta - August 11, 2021)
dave dp phillips long story short
fields of re/search: existences and behaviourisms humanimalistically. works that oppose the omnipresent restriction and reduction of life and living, that activate primordial shared emotions otherwise hidden under the debris of civilization, inviting rumination, encouraging intervention, endorsing catharsis, liberating, cleansing. therapeutical stimulation is acknowledged. sonic activism, ritual protest music, humanimalism
methods: audio de/construction, composition, sonic rituals, psycho-acoustics and performance
tools: voice, body, fieldrecordings, electronics, objects, video
reason for this interview: his recent release “to death” (7th July 2021, Misanthropic Agenda)
enjoy the reading!
Chain D.L.K.: Hi Dave! How are you doing?
Dave Phillips: Quite alright. I moved house earlier a month ago, I’m settling in…
Chain D.L.K.: I heard you recent ‘to death’ and I honestly think it’s a listening that I would likewise honestly recommend in this historical stage… but before focusing on it, even if those well-informed readers of our zine, whose memory has not been reset yet, don’t really need any introduction, how would you introduce yourself, your sound art and its direction(s)?
Dave Phillips: Puh. Well. My music is rather free, abstract, “cinematic”, and personal. It sounds more organic than it does electronic. What I seek in sound/music is altered states of consciousness, states of trance and liberation, cathartic and purging kind of highs, some sort of elevation. Sound for me is communication, so I like it to have some sort of narrative, intentionality, something shared. I’m interested in the effect of sound as much as its aesthetic form. Sonically I’m inspired by contemporary (classical) composition, the sounds of insects, traditional music, improvisation/free music, bass music, as much as the energy of radical punk and metal. Literature is a big inspiration too. My sound work is often accompanied by topical contexts that touch on environmental and existential issues but are more driven by the interconnectedness of things, the thing that some call chaos, this enormous ecosystem that we are a part of, the kind of free life that is uncontrollable and beyond our systems of control or scientific measurement or language. I call my music “ritual protest music” – I protest against the reduction and restriction of life – I describe my way of approaching sound as “sonic activism”. Uhm, long “introduction” but there you go…. just open ears…
Chain D.L.K.: The last outputs I vividly remember of yours, who reached somehow my desk (I often don’t know how or why some sonic entities reach my desk, besides the fact someone delivers them to my mailbox), has been a super limited split with Emerge on Nazlo, that was a tribute to Dmitry Vasilyev. Have you ever met him? Which tracks did he leave in your memory?
Dave Phillips: I met Dmitry Vasilyev a bunch of times. The last time was in September 2018 when Dmitry had organized a tour for me and emerge in Russia. We met in Sevastopol before embarking on a tour together. The day before our tour began, we went swimming in the Black Sea and Dmitry drowned. The tape you speak of is a reaction to that tragic loss. Dmitry’s enthusiasm for and energy invested in experimental music was amazing…
Chain D.L.K.: I have to amend… There’s also a CD from Attenuation titled ‘Post Homo Sapiens’, but I honestly haven’t unfolded it yet… What a shame! Can I get excused for that? What should I expect?
Dave Phillips: Of course! Post Homo Sapiens imagines a world where insects and plants rule.
Dave Phillips imagephoto courtesy of Jesse Newman
Chain D.L.K.: I enjoyed the reading of some of your texts (ref: https://www.davephillips.ch/texts), the last of which includes many interesting and praiseworthy ecologist thoughts and reflections, but it dates back to 2015. Are you writing some new text for the recent evolution of human history?
Dave Phillips: “For the recent evolution of human history”, haha. Besides writing, I collect and present texts too, and my texts sometimes take from articles and books that touch me. For the “sixth mass extinction” LP (2019) I collected a bunch of articles that together offer a picture of how humans are doing in terms of coexistence with other beings on this planet. It’s probably no surprise that we’re not faring very well – what we seem to be good at though is causing mass extinction and destruction. Said articles were accompanied by a profound text by professor Jem Bendell on “navigating climate tragedy”. For an upcoming split with sist en 343 called “thinking future coexistence,” I used a text by Charles Eisenstein on what happened since corona blessed us – this should be out in the autumn. I am supposed to write something for an upcoming compilation, but I haven’t got there yet…
Chain D.L.K.: So let’s go back (or forward) to ‘to death’. I remember the words of a Tibetan monk on this subject, who said that we have to notice that when a baby comes to life cries, and we smile, when a person comes to death (let’s say so) sometimes has a smiling expression on his/her face, while we cry. Is this somehow ironic viewpoint close to the meaning of death you were referring to on your last release?
Dave Phillips: Yes, very much so! Accompanying my father on his last journey was a profound experience that demystified death to an extent where it mostly wasn’t this “horrible thing” that people often seem to associate with it, but something quite different…. somehow magical, often peaceful and serene – my father was smiling a lot as he lay dying – and also somewhat unbiased, more to do with “life (in all its stages) never fails to amaze me”, where often opposing angles together make the whole.
Chain D.L.K.: I think that most of the weirdest consequences of this likewise weird pandemic crisis can be interpreted by using the filter of human fear of death. How did this situation influence your ‘to death’?
Dave Phillips: I was living in such intense reality bubbles at the time of the pandemic that the pandemic itself seemed to be happening on a side-stage, it didn’t seem to have that much impact on me. In hindsight, though, I realize it played into my perception more than I acknowledged. It affected my perception of the world. The slow dying of my father seemed to go hand in hand with the dying of something that somehow defines us as humans, as we grow more and more separate and distanced from one another and from purpose and freedom – as we have from the “natural world” at large, a separation that we are imposing on us more and more. That’s a slow dying. I mean, the empire is failing and falling, it will crash, no doubt, it’s just a question of when and how. And it sure won’t be pretty. People, please remove your filters!
Chain D.L.K.: I also enjoyed the fact that in the title, there seems a first part missing. You can expect an ‘Hymn to death’, an ‘Ode to death’ or even a ‘Yell to death’! But it’s as it is… just ‘to death’! How did you draw inspiration for it? I read it was somehow related to your father’s last moments (of course you have my deepest sympathy).
Dave Phillips: Thank you. Yes, it’s mainly inspired by my father’s illness, which was devastating and my being his carer for the last 15 months of his life. I witnessed his person being eaten away by disease – in a way, he was gone before death gave him peace. At the same time, I found myself in a role that made sense on so many levels, and somehow I managed to pull it through – I’m so glad I did. Taking care of the old is like taking care of the young, is like education, is like a purpose in life – outsourcing that to a paid service or a job or some system is missing out on profound experiences, on things essential, maybe on things that define us as animals or mammals or tribal beings. Something that teaches more than schools or universities can, but also demands more. So really it’s more about the journey, the path, the story of accompanying someone all the way “to death” and all that it sets free. My father’s wish was to die at home, and I’m glad that my siblings and I made that wish come true.
But this journey also leads to other related topics. There are many readings of the title. The ode/hymn “to death” is certainly in there, probably poking at the wish to demystify death as the huge taboo that it still is. the title also addresses what we’re doing to planetary life – to plants and other animals. Thus, also what we’re doing to ourselves: when I view my father’s disease in a global context, it’s a common cause – nowadays. The main causes of death in our times show us how sick our allegedly “civilized” way of life makes many of us. So much human waste. We are “civilized to death”. And then there’s what this is all doing to us emotionally and existentially – areas where many of us seem more dead than alive, where we merely function and follow rules. The slow death of human potential through our educational systems and through our imposed “normality” is part of that. The death of freedom through total control of life, as per recent events. I mean, life IS uncertain – that’s the exciting part, isn’t it? All our puny attempts to create “safety and security” are laughable if they weren’t so devastating in what they actually do to us – but we’re like animals born in captivity. Our established political and economic systems seem rather dead too – I mean, an economy that functions linearly is just grossly inadequate for a world and lives that happen in cycles. So there are many paths and pointers “to death”. I can also turn it around: if death is the only certainty in life, then a tribute to death is a celebration of life!
Chain D.L.K.: What are the reversed words in the opening ‘A Cycle Completed’ to say?
Dave Phillips: The tone matters more than the words. What do you hear?
Chain D.L.K.: Death is maybe the aspect of existence that keeps the strongest taboos still on. Do you agree with such a statement of not?
Dave Phillips: Yes, that’s also why I wanted to make an album that demystifies that, that steers us away from this taboo, from this conditioned denial or shame, this refusal to face all aspects of existence. I wanted to describe death as what it is, part of a cycle as natural as birth, something to encounter and to know, not something to primarily fear. On the contrary, I feel the awareness of death is one of the driving forces of life, it brings out deep emotions which frankly make me feel very alive. Death the experience has many beautiful aspects to it, at least in my experience. To reduce death – or this album – to just something “dark and scary” is merely scratching the surface – it’s looking away. If we could include death in the bigger picture as something normal, we may enjoy more freedom in our lives…
Chain D.L.K.: That piercing scary and somehow beastly scream on “To Death We All Go, The Sooner The Better”… how did you grab it, if it can be said?
Dave Phillips: I often start a recording based on notes I made or impulses, ideas about sonics, and sentiments. The tape starts running and… I try to put these sentiments into sound, and then… often things happen, I get carried away…. I go places, I enter different states of being, it’s like I travel like I’m somewhere else. Then sometime later, thump, I land again, it’s like I’ve returned from far… and sometimes it even translates onto tape ;o)
Like this album. I didn’t plan to do something about this particular topic, or about my father. I had a bunch of ideas noted, things I wanted to work into, but nothing like “to death”. Then I started recording. It was like a trance. It just poured out of me. The basic recordings happened within about ten days, basic structures of pieces were completed the following week. When I started listening back to what I had done, I was surprised. Then I realized what it’s about…
Chain D.L.K.: Paraphrasing and quoting the title of one of my favorite tracks of the album, what’s the real catastrophe you wanted to represent or maybe exorcize?
Dave Phillips: “The real catastrophe is that humanity continues”. It refers to the coronavirus and a reason why it might’ve appeared. I mean, we humans have vastly overpopulated this planet, and we are a very sick civilization, we’ve taken a couple of wrong turns too many, and we’re destroying not only our home but also that of all other inhabitants and them with it. It’s time we became extinct, or at least drastically reduced in numbers. We, humans, are the catastrophe… haha… it’s somewhat tongue-in-cheek, my sense of humor, though I reckon part of me means it ;o)
Chain D.L.K.: Is there any moment of ‘to death’ that you want to keep deliberately indecipherable?
Dave Phillips: Honestly, I try to be transparent with all that I do. My intentions, sentiments, feelings, it’s all there really. I don’t try to be cryptic or mysterious. On the other hand, it’s very subjective – I’ve put things out into the world that I thought were obvious and then find myself surprised by very different interpretations. So in this work, there are wordings, for example, that are only my own words for this particular moment, this context, they are subjective and not telling in terms of a narrative, so they needn’t be clear, they are only relevant in terms of opening spaces, it’s your own words or sentiments that take you through those spaces, and that’s fine.
Chain D.L.K.: Any plan to lend or adapt ‘to death’ for other forms of art (theatre or video art maybe)?
Dave Phillips: Not for now. The way this album poured out of me, the way it happened, this format is quite right for now. Emotionally, I’m quite elsewhere now anyway, also thanks to having this album happen.
Chain D.L.K.: Any work in progress?
Dave Phillips: Always :o) I’m currently finalizing two pieces for a 7″ for a young Portland label, and a comp track, but there are other pots cooking too…
Visit Dave Phillips on the web:
https://www.davephillips.ch/about
https://dave-phillips.bandcamp.com/
https://soundcloud.com/dave-phillips
vimeo.com/davephillips
|
2019 |
€20.00 |
|
| PHILLIPS, TOMAS / JASON BIVINS |
Blau |
CD-R |
"Blau marks the first collaboration between Tomas Phillips and Jason Bivins. A marriage of guitar improvisation and through-composition, its immediate reference point beyond lowercase sound art is the work of painter Barnett Newman. His solid color canvases, broken by vertical lines of various shades, reveal an aesthetic preoccupation with minimalist imagery aligned with a reverence for the philosophy of Spinoza. An equally pleasurable matrimony.
Original digital artwork Blue With Lines, (after Barnett Newman) by FOURM (BGN)." [label info]
www.dragonseyerecordings.com
|
2010 |
€10.00 |
|
| PLAYING WITH NUNS |
Frolicking through the Meadow |
CD-R |
"4 Track 33min, Drone / Harsh Ambient / Noise PRO-CDr. Playing with Nuns is one of our favorite soundscape noise creator, lends us another awesome release that blends all sorts of sounds and textures. Artwork by Glowingpixie.
Limited to 80 copies" [label info]
www.darkmeadowrecordings.com
|
2011 |
€6.00 |
|
| PRAXINOSCOPE |
same |
pic-LP |
“Praxinoscope is a new project which sees the duo Roberto Opalio (one-half of My Cat Is An Alien) and Ramona Ponzini (close collaborator of the Italian space-brothers). While in the debut album as Painting Petals On Planet Ghost (out in early September 2005 on Time-Lag Records) Ramona will focus on her Japanese vocals alongside both brothers' acoustic tunes, here she plays little Japanese percussions and wind chimes, creating a resonant texture over Roberto's alien wordless vocals and space electronics. The material comes from a whole session recorded in a mysterious location of the Western Alps, directly transferred to cd using neither overdubs nor outtakes, practice which the Opalio bros have made us addicted to. For the entire lenght of its 40 minutes, the piece will stifle you the breath because of its so pure essence and intimate mood; a mystic, suffocated chant reminding the silence of ancient rituals, the ultimate exorcism to avert the Infinite Pain. Limited edition of 500 copies only as vinyl picture disc 12" LP with psychedelic artwork!” [label info]
“…..This project traverses a similar terrain as MCIAA, but is perhaps closer to Roberto's brilliant solo album, "Chants From Isolated Ghosts". Opalio's vocals star here, taking the limelight and thriving inside it. Effects drench his voice making it something truly not of this world. These lunar oceans of sound are magnificent and totally enthralling. It's as though he's a cosmonaut trapped inside a glass box, unable to travel the reaches of space. Such confinement derails your mind and Opalio sounds like a person struggling against himself. At times, hearing this is almost too much - there's simultaneous discomfort and exorcism happening and you can't quite focus intently on either. You are a passive player in this exercise, lost in the crevices Opalio and Ponzini create. I cannot discount Ponzini's contributions to this 40 minute piece, either. While it may seem minimal on the surface, her various "Japanese percussions" (mostly chromatics, cymbals, and the like) add a great deal of needed texture to counterbalance Opalio's haunted wails. It is reminiscent of the way Finnish master, Keijo, works in a lot of percussive elements to his tracks. And it has the same effect. Praxinoscope is a great new project from the always wonderful My Cat is an Alien. This is one of Opax's finest releases. Bringing to mind the vocal transcendence of the Skaters, Praxinoscope are proof that you don't need any instruments to make amazing sounds. This is wonderful, wonderful music” [Brad Rose, FOXY DIGITALIS]
|
2006 |
€15.00 |
|
| PRIME, MICHAEL |
Requiem |
LP |
Für „Requiem“ hat der unterbewertete Experimental-Composer aus England Sounds von NEGATIVE ENTROPY (sein Projekt mit Geert Feytons von den NOISE MAKERS FIFES), eine „sound sculpture“ von LEN LYE, und „the voice of Miro“ benutzt. Herausgekommen ist dabei eine fantastische, geisterhaft dröhnende Komposition die eine unglaubliche Weite und absorbierende Atmosphäre besitzt und sehr spannungsreich verläuft. Drown-Drones ! Schöne Artwork im Klappcover – ein Muss für jeden Drone-Freund!!
Fantastic new album by MICHAEL PRIME, creating ghostly, otherworldy dark drones which rich details and an unbelievable width and absorbing atmosphere ! very much recommended !
“A new album by Michael Prime who is another prolific sound composer for many years. Being an active member of Morphogenesis he also collaborated with among others: David Jackman/Organum, Jim O'Rourke, Eddie Prevost, David Toop, Adam Bohman. He's also one half of Negative Entropy a collaborational project with G. Feyton (Noise Makers Five) and is running his own label Mycophile. Recorded between December 1998and December 2000 'Requiem' is one of his most intense works so far and quite different from his more enviromental studies. Dedicated to M, H and LL. Pressed on 180 gramm vinyl the record is coming in a full color gatefold sleeve. Limited edition of 700 copies.” [label press release]
|
2002 |
€15.00 |
|
| PROXENUS / GLOWING PIXIE |
Elapidae |
maxi-CDR |
" 1 Track 29 min... Ambient / Drone CDr... Track to sooth the soul, no harsh sounds nor sudden stabs, just one track to relax to... Glowingpixie does the artwork for most Dark Meadow Recordings and also plays Trumpet, Bass and random instruments for Syrinx. His other project is Unpaid Whores." [label info]
www.darkmeadowrecordings.com
|
2010 |
€6.00 |
|
| 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 |
|
| PYRAMIDS WITH WRAITHS |
Magpie & Raven |
LP |
"Einseitig bespieltes, opakes Vinyl in bedrucktem Transparentpapiercover in PVC-Hülle plus Downloadcode auf Aurora Borealis. Von der Optik ganz eindeutig ein Sammlerstück, musikalisch ein weiteres Beispiel für die Art und Weise, wie Pyramids andere Musiker in ihre Ideen einbinden und dann trotz deutlich erweiterten Musiker-Line Ups fokussierte Werke entstehen lassen können. Wer die „Pyramids with Nadja“-Zusammenarbeit mochte und da besonders diese Stimmung dauernd vor dem Ausbruch, mit hervorgerufen und unterstützt durch diese windartigen Sounds, der sollte sich auch auf „Magpie & Raven“ (musikalisch) zu Hause fühlen: am Anfang sind da diese Klavierakkorde und ein erstes Erscheinen der Stimmen, die für die Stimmung des Gesamtstücks noch sehr wichtig werden sollen und überraschenderweise, kaum dass man sich auf diesen Auftakt eingelassen hat, setzt die volle Orchestrierung ein und steckt das Dynamik-Feld ab. Auf diesem herrscht im Weiteren eben wieder dieser Wind, hier unter einem offenen Himmel voller Graustufen mit diesen einsamen Stimmen und ihren Anrufungen als Zentrum, bald wieder unterstützt durch das Piano des Auftakts. Diese wenigen Elemente (und der Reiz des Wechsels zwischen Männer- und Frauenstimme) reichen völlig, die absolut unwirkliche Stimmung über die gesamte erste Hälfte von „Magpie & Raven“ zu tragen, bis sich der Wind wieder stärker aufschwingt und sämtliche Gitarren und das Schlagzeug ein zweites Mal anruft. Was dann folgt ist ein Beispiel, wie musikalisch Noise klingen kann, wenn er denn so erzeugt wird: ein Mahlstrom von Feedbacks unterschiedlichster Couleur, die so klingen, wie ein Loch in einem Staudamm (vermutet) klingen würde. Darauf irrlichternde Treble-Fetzen, die bald so etwas wie eine eigene Struktur über dem Ganzen bilden und der Rücksturz in die (Un-) Wirklichkeit. Nicht ohne eine letzte Ansage der Priesterin. …Statement." [N / Blackmagazin]
www.aurora-b.com
"Magpie & Raven' sees Pyramids at their most sprawling and with moments of ultimate bombast. With piano provided by Clay Ruby (Burial Hex) as an integral part, the 25 minute plus track weaves around this motif with massive guitars and a spoken word performance that is truly epic before everything dissolves in a maelstrom of organic noise as Wraiths eviscerate the previous musical section to its very atomic particles before all comes together again and the track ends with a sense of calm conclusion.
This amazing release is presented as a limited edition one-sided clear vinyl LP in a signature AB vellum-style sleeve with artwork by noted tattoo artist Simon Erl. The multi-layered artwork can all be seen as one whole when held up to the light. Comes with an MP3 download card. Housed in heavy PVC outer sleeve. Edition of 350." [label info]
|
2012 |
€20.00 |
|
| RACHEL'S |
Selenography |
do-LP |
"Die Gruppe aus dem Chicago/Louisville-Umfeld (SHELLAC, RODAN, JUNE OF '44, SONORA PINE, etc..) mit ihrem 4.ten Album (nach´Handwriting', 'Music for Egon Schiele' und 'The Sea and the Bells'). Eine instrumentale, herbstlich schimmernde Mischung aus klassischer Kammermusik und Geräuschparts, alles rein instrumental. Viel Piano & Streichinstrumente, wunderschöne Cover-Artwork. Deeply recommended!" [old Drone Rec info]
"The fourth album from these deft neo-classicists brings a collection of songs that have been staples of their breathtaking live performances, yet had never made it to tape. An integrating of live and electronic textures recorded in various locales between july '97 and January '99." [label info]
www.quarterstickrecords.com |
1999 |
€21.00 |
|
| RAISON D'ETRE |
Alchymeia |
CD |
"It’s with great honour that we present the latest album by Swedish dark ambient stalwart raison d’être. This time Peter Andersson scrutinizes the paths of Carl Gustav Jung's notions of archetypes and the individuation process. Just like Mise en Abyme, the previous raison d'être album from 2014, Alchymeia is diving deep down to the shadows of the unconsciousness, and back to a dawn of the true Self. Confronting the shadow within is the darkest time of despair. There seems no way forward, only down. All is blackening and decomposed. Suddenly, through an enantiodromia, the ever deepening descent into the unconscious transmogrifies and becomes gradually illuminated. The melancholia is being purified. Alchymeia is in a sense the “raison d'être” of raison d'être, a shadowy journey through our unconscious the individuation process and archetypes. This release also marks the first time a raison d'être album will be available on vinyl. Artwork by Nihil." [label info]
|
2018 |
€13.00 |
|
| RAISON D'ETRE & TROUM |
De Aeris In Sublunaria Influxu |
do-LP |
First time on Vinyl, presented in Gatefold Sleeve on Double LP. Originally released in 2015 and carefully forged between 2011 and 2014, "De Aeris In Sublunaria Influxu" showcases a magically crafted alchemical wedding between these two titans of drone ambient. The 2LP features an exclusive bonus track.
Troum navigates through cavernous, subterranean spaces where cyclical sounds reverberate towards impressive crescendos of icy noise, luminous drones and dramatic, guitar-driven ghostly melodies. Their truly unique soundscapes shine in a perfect symbiotic movement with the Swedish dark ambient maestro Peter Andersson. Engulfed in a hauntingly beautiful kaleidoscope of grey-ish melancholia, raison d’être comfortably walks deeply into Troum’s vast territory, delivering his very own trademark of eerie tones, ominous sacral ambience and crystal clear constructions. Airy lush enigmatic atmospheres live together with dark breathing, reverberant transformative drones. Rich and gorgeously layered.
All sounds assembled and recorded by raison d'être (Peter Andersson) and Troum (Stefan Knappe, Martin Gitschel) between 2011-2014. All sounds processed, manipulated and structured by Peter Andersson 2011-2014. K-14 level mastering by Peter Andersson 2014. Artwork by Ritxi Ostáriz.
2LP Vinyl Edition of 300 copies, Gatefold Sleeve, Matt Lamination, black Paper Innersleeves. 8 Tracks. Running Time 76:785
https://cycliclaw.bandcamp.com/album/de-aeris-in-sublunaria-influxu |
2023 |
€28.00 |
|
| RAMLEH |
Switch Hitter |
10inch |
Überraschender neuer Release der UK-"Industrial / Impro / Rock"-Legende, hier sehr psychedelisch / hypnotisch noise-rockig & an alte SPLINTERED erinnernd...
"Black Rose Recordings and Broken Flag present the new 10" single by the legendary group Ramleh. Limited to 500 with black and white artwork this is their first new material since 1998 and it doesn't disappoint. Powerful droning intensity, motorik rhythms and warped guitar riffs dominate these two songs with one containing Ramleh's distinctive distorted vocals weaving in and out of this inventive chemistry. "Switch Hitter" could almost be described as a full on dissonant rock track, but Ramleh's desire for experimentation and improvisation lifts it way above the general rock mindset. Ramleh have been active since the early 1980s, first as one of the UK's pioneering power electronics groups and then towards the late 80s they, along with Skullflower, laid the foundations for the UK's improvisional noise rock scene. In fact Gary Mundy from Ramleh was also one of the founding members of Skullflower (there was an overlapping membership of both bands, yet Ramleh always managed to retain their own unique identity regardless of musical genre). They returned to the live scene last year with well received shows in London (one with Whitehouse the other with Merzbow), and New York, whilst a new album release and planned re-issues from their back catalogue are due late 2009 proving they have not lost any of their energy, excitement and ability to explore all possibilities." [label info]
|
2009 |
€15.00 |
|
| RAPOON |
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 |
|
| |
Call Fires to Cloud |
CD |
Edition comes in a full-colour 4-panel A5 sized digipak with different cover artwork. Glass mastered CD with 6 full colour A6 postcards on 300g glossy laminated card, limited to 100 copies.
These six images are from the Replicants Creation Myths.
'The great crow that tore up the earth with his beak, flapped his wings and made the stars from the dust when all was silent.'
The replicant society has broken down and all that remains are a few wandering tribes who traverse the dying planet searching for somewhere to call home. They pray to empty gods.
One group places it’s final messages and cultural artefacts into a holographic file but before it can be sent into space a great sandstorm sweeps across their encampment and buries everything. Millenia later another great storm finally blows the sand away from the power panels and the transmitter bursts into brief life. Just long enough to send the following files of music and art......
What began life as session tracks and studio sounds from the Mercury Rising Trilogy, ended up becoming an album of almost entirely new material. Robin Storey takes us on a journey to the outer reaches of a very distant and cold solar system.
These intercepted transmissions of audio and visual material, that have bounced around the known universe for millennia, finally allow us a glimpse in to their creators past.
https://winter-light.bandcamp.com/album/call-fires-to-cloud
|
2020 |
€20.00 |
|
| 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. / JOACHIM MONTESSUIS |
Janus |
LP |
"Recorded, composed, mixed between Paris & Oslo, the Janus LP is a collaboration started in 2008 and finished in 2013. Experimental mouth music duet, free interlaced vocal noises, sonic poetry and free electronics. A convergent formal meeting of two complementary paths between poetry and music. Mastered by Frédéric Alstadt. Master cutting and vinyl manufactoring : magnetic.fr. Cover : Janus bust of Silenus and a Satyr, A.D. 120-150 Roman Marbel, Chrysler collection. Artwork by Joachim Montessuis."
https://soundcloud.com/erratum_musical/maja-s-k-ratkje?in=erratum_musical/sets/maja-s-k-ratkje-joachim
|
2013 |
€15.00 |
|
| REED, RICK |
Dreamz / Blue Polz |
pic-LP |
Rauschig-repetitive Analog- & Mechano-drones, füllig & dicht auf Seite 1, ruhiger & ätherischer auf Seite 2, kreiert mit Analog-Synth, Sinustone-Generator und Kurzwellen-Radio. Das sind quasi die Soundtracks für 2 von RICK REEDS abstrakten Gemälden, die auf dieser picture-disc abgebildet sind. Schöne Arbeit des Texaners mit starkem 70er Jahre Drone & Minimalismus-Touch.
"Beautiful picture disc LP featuring two full-color reproductions of visual works by Rick Reed and two new side-long solo compositions. Reed's fascinating, highly evolved world is represented well by these two new pieces, each of which offers up the kind of droning intensity and unsettling beauty that this veteran noisemaker has come to be known for. Reed's work is very obviously that of an experienced craftsman - one whose sound is a reverent nod to early electronic music underscored by an enduring sensibility for atmosphere and ethereality.
Dreamz began life as the soundtrack for a live visual display by filmmaker Ken Jacobs, which was performed live by Jacobs and Reed at the 2007 New York Film Festival. The record’s flipside, Blue Polz, was also inspired by the work of a filmmaker (originally conceived as a kind of alternate soundtrack to a piece by Fred Worden). All of the music was created using an EMS Synthi A, plus 2 sine wave generators and a shortwave radio. The artwork comes from two original paintings. Reed has been active in the visual arts for more than 20 years; his work is utterly abstract, beautifully enigmatic. These images are the perfect accompaniment to Reed’s otherworldly audio counterparts.
In addition to his solo work, Rick Reed has participated in a number of productive collaborations over the years with Keith Rowe, Jgrzinich (in Frequency Curtain), the Abrasion Ensemble, and SIRSIT. He currently resides in Austin. This picture disc LP has been released in an edition of 260 copies." [label info]
"From the improvisation world of Texas comes Rick Reed, who has been around for quite some time, playing with Keith Rowe (it's this Rick from that AMM title), the Abrasion Ensemble and Sirsit, of whom I never heard. He has had various solo releases on Elevator Bath before. These two pieces here were part of something bigger: one as a 'live visual display by filmmaker Ken Jacobs', and the other one could be an alternative soundtrack to a piece by one Fred Worden. Reed uses a EMS Synthi A, two sine wave generators and a shortwave radio. The first side, if I detected that alright, is a very minimal piece of soft flowing, high pitched tones. Like far away insects chirping whilst the dawn sets in. Over the course of the side dawn gets dark and insects quiet out. The other side start out in the middle of the dark night but it stays night: dark humming organ like drones, which are filtered out over the course of the piece, until some chorus like sounds drop. Of these four sides, this is the most single minded, and for me the least interesting, even when it's not bad either. Two fine to great records, lovely picture disc and highly limited. Yummy." [FdW / Vital Weekly]
www.elevatorbath.com
|
2008 |
€17.50 |
|
| REFORMED FACTION |
I am the Source of Light, I am not a Mirror |
3 x CD-box |
Das dritte Werk der ehemaligen 2/3 von ZOVIET FRANCE, die sich nicht mehr "REFORMED FACTION OF Z.F." nennen dürfen und nun kurzerhand als "REFORMED FACTION" weitermachen. SOLEILMOON hat sich wieder eine besondere Artwork / Verpackung ausgedacht: Eine schmucke Alu-dose mit Prägung, darin drei CDs, ein Button mit dem ans RAF-Logo angelehnten R.F.-Zeichen, ein Klamottensticker, Farbbooklet, und eine golden bedruckte Inlaykarte.
Auf den 3 CDs sind ganze 52 (!) Stücke verteilt, das wirkt manchmal wie ein hochkreatives, experimentelles Potpourri, eine Wundertüte aus Ideen, Fragmenten & Skizzen und ist wohl (wie auch früher bei ZOVIET FRANCE) in langen Sessions entstanden. Neben gesampelten Material jedweden Ursprungs & Synths kommen vielerlei Instrumente, auch Drums, Bass & Gitarre zum Einsatz, oft wird es rhythmisch oder loopig (manchmal tribal, dann wieder eher Electronica-lastig), orientale Anwandlungen (Sitar) sind vorhanden, die Fülle von Stilen & Genren, die hier berührt werden ist schlicht überwältigend, irgendwo im multidimensionalen Musikraum zwischen RAPOON, ZOVIET FRANCE und den chaotisch-rhythmischen Sachen von DOWNLOAD oder BEEHATCH. Wow.
"Reformed Faction are Robin Storey and Mark Spybey. Their new release “I Am The Source of Light, I Am Not a Mirror” follows their 2007 Soleilmoon release “The War Against”, and is their third album. Their debut release “Vota” was released in 2005 by Austrian label Klanggalerie. The band has played live in both North America and Europe. Reformed Faction did not set out to record a triple album, but that is exactly what they have done. Reformed Faction do not talk about making music. They make music. They assemble and record and use improvised material to stimulate the development of composed pieces. The music was assembled in the same way that the CD package was: through active collaboration. “What folks probably don’t realize is that we have always embraced technology. We use technology, we aren’t governed by it. We have to learn how to use equipment in our own way, which means that instruction manuals are never referred to. We make music. We try not to theorise, and we avoid interpretation or analysis of our music like the plague.” This is an homage of sorts, to the last 40 years of music making. Robin began as a guitarist, Mark as a drummer. Throughout their careers they have neither deliberately nor consciously eschewed the use of conventional instruments or traditional compositional techniques. They do not regard themselves as an “experimental” band, preferring to leave the laboratory safe in the hands of physicists and technicians. A long time ago :zoviet-france: declared that they could, if they wished, create the perfect pop record or the archetypal country record. Both Mark and Robin were profoundly influenced by the music of rock bands in the seventies while boldly assimilating ideas from world music in the belief that all musical sources exist to be appropriated. In the same way, over the years, they have embraced technology. This is “anti-restictivist” music. “We realized a long time ago that as soon as we left :zoviet-france: our cover was blown. We could no longer hide under the false mantle of anonymity.” For Reformed Faction, each album is an attempt to develop ideas. The three CDs that comprise “I Am the Source of Light, I am Not a Mirror” are collages, each intended to be listened to in their entirety. The contributions of various friends have been assimilated into the recordings. The East German band Scatology and the American band Not Breathing both contributed to the process. Tommy Grenas of the Los Angeles band Anubian Lights, who Mark met through Damo Suzuki, came to stay with the band and also joined in the recording sessions. The recordings took on a life of their own. Picture the backdrop: the rainy landscape of northern England, the collection of classic seventies albums from the likes of Faust and Can, and the band’s preoccupation with the cultural and political legacy left by the dissolution of the eastern block countries. Reformed Faction spent time in the city of Dresden, where they met the artist Ira Tannheuser, who supplied the images used in the booklet accompanying the CD. The finishing touches were generated by Shaya, an enterprising Afghan trader and fan of Reformed Faction who trekked through the fabled Thar desert in the Sind province of southern Pakistan, and there discovered a long-forgotten depository of hand made metal boxes that had been manufactured 30 years ago in the town of Mithi. They were initially made for storing detonators but had never been used. Shaya had them embossed with the Reformed Faction logo by a local metal worker and then shipped them half-way around the world to Soleilmoon and told us to do something with them. The boxes are still partially encrusted with the sand of the Thar desert. “I Am The Source of Light, I Am Not a Mirror” is released in two configurations. Both come with three CDs in screen printed slipcases, a 12 page full-color booklet featuring the work of East German artist Ira Tannheuser, a screen printed insert describing the edition, a metal badge and a sew-on cloth patch.The first edition is limited to 100 copies and is available exclusively via Soleilmoon’s mailorder service. Besides the aforementioned goodies it includes a 3 inch CDR with an unreleased track presented in a hand numbered screen printed slipcase. The box is made entirely of sand-cast aluminum, and features the Reformed Faction logo on the lid. The second edition, which comes with everything included in the first edition except for the 3 inch CDR, is limited to 300 copies and is presented in a box made from sand-cast aluminum sides attached to a sheet metal top and base. The lid is embossed with the Reformed Faction logo. We are Reformed Fraktion. We are from the North of England. We travel. With open eyes." [label info]
www.soleilmoon.com
|
2009 |
€44.00 |
|
| REIDY, JULIA |
In real Life |
LP |
Black Truffle present In Real Life, the latest in a flurry of releases from Berlin-based guitarist and composer Julia Reidy. Having drawn acclaim for solo performances on 12-string acoustic guitar that bridge microtonality, ‘American primitive’ stylings and classic minimalism, Reidy’s recent releases have utilised an increasingly broad sonic palette, fleshing out guitar-based composition with electronics, field recordings, and – most strikingly – heavily auto-tuned vocals. On In Real Life, Reidy pushes one step further, crafting an epic LP-length suite that moves from abstracted song to lush electronics and explorations in contemporary musique concrète. Beginning with a passage of eerie electronics and creaking percussive interjections, Reidy’s heavily auto-tuned voice quickly takes centre stage. Surrounded by explosions of electric guitar and synthesised arpeggios, the auto-tuned voice delivers a melancholic ode, bringing together poetic images to reflect on the instability of experience and mutability of identity in a contemporary world saturated by digital technology. This concern with the unsettled relationship between the physical and digital is reflected musically by the constantly shifts in emphasis between Reidy’s physically demanding guitar-picking and the various forms of synthesis deployed. Similarly, the dynamic imagery of cutting, shattering, and ‘racing streams’ present in Reidy’s lyrics also serves to characterise the structure of In Real Life, which ceaselessly shifts between distinct episodes. The song-based opening, long sequences of frenetic 12-string guitar shadowed and eventually overtaken by synth tones, passages of delicate chiming harmonics, electro-acoustic cut-ups – each flows seamlessly into the next, often recurring throughout the record’s duration, which lingers over interstitial moments between these episodes.
Mixed and mastered by Joe Talia at Good Mixture, Tokyo. Vinyl cut at 45rpm for maximum fidelity by Rashad Becker at D&M, Berlin. Artwork by Suze Whaites. LP desgn by Lasse Marhaug.
|
2019 |
€20.50 |
|
| RENALDO & THE LOAF |
Gurdy Hurding |
CD |
"Possibly the thing in the world that you never expected to happen, but luckily you were wrong: Klanggalerie are proud to present you the brand new album by Renaldo & The Loaf. 30 years after "The Elbow is Taboo", Renaldo & Ted The Loaf have created another fabulous record. 13 songs in classic RATL style with an incredible cover by the wonderful Poxodd. All the RATL trademark sounds are there, but of course technology has not passed unnoticed, so there is a 2016 approach to the music, too. This is what the band say: "Olleh! Hard to believe almost 30 years have passed since Elbow Is Taboo but finally we have decided it’s about time for a brand new album. So... (surprise!).... Gurdy Hurding is soon to be released by Klanggalerie . With a wonderful cover design and artwork by Poxodd, the collection of 13 tracks is scheduled to be released on October 25th. Renaldo & Ted". British avantgarde at its purest by who was often called The English Residents. Track list: 1. Henri Rise 2. Pessimistoc Song 3. A Convivial Ode 4. Scent Of Turnip 5. The Moment Is Lost 6. Gurdy Hurding 7. Improbable Legs 8. Carrot Ballet 9. Asper Dorsalis 10. Djinn House 11. Gladsome Vane 12. Early Twirly 13. Optimism" [label info]
"The style of Renaldo and the Loaf is immediately recognizable, with goofy voices and exaggerated accents, bizarre lyrics involving topics like garden gnome bedmates or a hatred of soap, non-obvious chords and melodies, acoustic instruments played abnormally and extreme sound manipulation to make everything sound unnatural. On Gurdy Hurding, the duo’s original bizarre vigor is still strong, although there are some technological enhancements. (...) Gurdy Hurding is a true statement of the duo’s fun yet uneasy spirit with an emphasis on creating interesting sounds and a relentless devotion to manipulate each one until it’s sufficiently peculiar."
(The Pulse, November 2016)
|
2016 |
€14.50 |
|
| REUTOFF |
Deprivatio |
CD |
Ganze fünf Jahre nach "Gute Nacht, Berlin" endlich das neue Album der Moskauer Ambient Industrial / Elektronik Band, die es wie wenig andere verstehen eine wirklich hoffnungslose Atmosphäre zwischen Misantrophie und trister Melancholie aufzubauen...
"... Reutov ist eine von Moskaus kleinen Satellitenstädten, die haupt-sächlich aus Industrieanlagen besteht. Ihr wird von den Band-mitgliedern, die alle in der Nähe leben, eine ganz besondere Atmosphäre zugeschrieben, die man beim Hören der Musik als trübe Industriemelancholie zwischen Zerfall und Science Fiction begreifen könnte; eine Stimmung, wie sie in Deutschland manche alte Häfen oder Güterbahnhöfe ausstrahlen. Ein Faible für den Klang der deutschen Sprache, das sich auch in vielen deutschen Songtiteln ausdrückt, hat aus dem 'v' am Ende der Stadt das doppelte 'f' für den Bandnamen werden lassen.
Wie immer ist auch dieses REUTOFF-Album eine Antwort auf die Frage, wozu eigentlich Dark Ambient erfunden wurde. Die fantastisch-düstere Stimmung erwächst stets aus der Musik der Russen selbst, und nicht – wie bei vielen Genrekollegen – aus den großen Worten, die begleitend zur Musik gemacht werden. Aber – endlich eine Veränderung – "Deprivatio" ist nicht mehr so durchweg archaisch wie noch die ersten Arbeiten, es ist ebenfalls nicht mehr so homogen industriell wie die beiden letzten Alben "Unseen Rituals" (2002) und "Gute Nacht, Berlin!" (2003). Die neue CD ist die bislang dynamischste, abwechslungsreichste, aufregendste und futuristischste Veröffentlichung von REUTOFF.
Hypnotisch ist der Beginn. Zum Dauerloop eines Kindersummens gibt eine rauchige, weibliche Sprechstimme auf Englisch Anweisungen, was zu tun ist: "Stellen Sie Sich vor, Sie sitzen in einem riesigen Theater mit schwarzen Sitzen und können nur eine einzige Sache sehen..." So düster und geheimnisvoll die ersten Sounds, so beruhigend sind die Worte. Später passt sich die Musik an und entspannt sich Richtung Downbeat, garniert mit verhuschten Männerstimmen und noisigen Geräuschen. Der Opener bereitet die futuristische Atmosphäre, die das ganze Album durchzieht. Noch häufiger im Verlauf der knapp 73 Minuten kommt sich der Hörer vor, als würde er durch einen von STANISLAW LEM entworfenen Park lebender Maschinen wandern. Auch das intelligente Songwriting – wenn man bei einem zehnminütigen Dark Ambient-Track davon überhaupt sprechen kann – offenbart sich gleich zu Beginn. Überraschungen wie eine eingeflochtene und beinahe folkige Akustikgitarre sowie versteckte und vertrackte Melodien und Rhythmen machen aus einem langen auch einen sehr abwechslungs-reichen Soundteppich. Es folgt ein eher klassisches Dark Ambient/Noise-Stück, dessen Drones in Verwandtschaft zu SAL SOLARIS gleißen und schimmern wie Sonnen im Weltall. Großes Kino, im wahrsten Sinn des Wortes, denn REUTOFF-Alben werden immer gerne mit der Stimmung von Filmmusiken oder Filmen – unter anderem "Stalker" von TARKOWSKIJ – verglichen. Und selten traf dieser Vergleich so zu wie bei "Deprivatio", auch bedingt durch die technisch hervorragende, satte Produktion.
"American Whores" geht dann wieder einen gänzlich anderen Weg. Die Collage bringt zu einem Bass, der auch MASSIVE ATTACK oder MOBY alle Ehre machen würde, ganz unterschiedliche Samples zusammen. Musik der 1920er-Jahre, fast eine Minute lang solo. Dazu verdichten sich die Trainerin eines Fitnesskurses und ein Kirchenprediger mit Chor – in Kombination mit dem Namen des Songs – zu einer infernalischen Amerikakritik. Nie wirken solche Samples belanglos, sie unterstützen bei REUTOFF immer die Atmosphäre des Tracks.
Auch der einzige deutsch betitelte Song, "In Die Leere Gehen", ist eines der Highlights: Hier ein strahlendes Universum mit synthetischen Engelschören, dort düstere Gewittercluster, die glauben machen, dass sich die Hölle öffnet – fehlt nur noch ein Sample von Luzifer persönlich. "Sun Of Sleepless" ist mit seinen knallenden und knirschenden Beats eine weitere Empfehlung für die Macher des nächsten Endzeit-Streifens; mit laut wehenden Fahnen geht die Welt unter. Und zum Abspann verglüht "25-th Hour" wie die letzte Moll-Hoffnung eines im futuristischen Kerker eingesperrten VANGELIS. Für so viele Höhepunkte übersieht man gerne die wenigen schwächeren Momente, etwa die Mischung aus Ethno und Dark Ambient mit piepsigen Loops menschlicher Geräusche ("Nemesis").
Alles an "Deprivatio" atmet russische "Metropolis"-Atmosphäre. Das Individuum zwischen Experiment, größenwahnsinniger Industrie, Verlassenheit und Zerfall. Damit ist die neue REUTOFF-Veröffentlichung längst nicht mehr nur ein Stimmungsbericht aus Reutov, sondern ein Abbild des neuen, modernen Russlands. Genreuntypische Experimente, die gekonnte Verknüpfung diverser Samples und Abwechslung in Tempo und Klangbild sorgen dafür, dass "Deprivatio" eines der besten und ausdrucksstärksten Dark Ambient-Alben der vergangenen Jahre ist. Es macht außerdem sehr neugierig auf die angekündigten Kollaborationen im Herbst." [Michael We. für nonpop.de]
"Finally, since five years after their 2003 “Gute Nacht Berlin” on Albin Julius HauRuck!, here is the long-awaited full-length solo CD from this most well-known Russian industrial project worldwide. “Deprivatio” is a sad story of a person surrender to the enemy environment, it’s about idle struggle with time and fatigue, about constant withering of passions and imminent vitality deprivation. Being maybe the most hopeless and sad work for the band, this album is paradoxically their most rhythmic and dynamic. There are more noisy drum loops and electro sounds here than martial drum patterns and old school noise, but their unique deep and profound melodic main themes are still remain as the basement for the brilliant new tracks of despair and downfall. The ascetic b&w artwork was done by Murad Ibatullin known for the recent “Iznutri” compilation. The release comes as a jewel box with 6 panel booklet, the first 100 copies come with 33x21 two sided poster." [label info]
|
2008 |
€12.00 |
|
| |
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 |
|
| REUTOFF VS. DEUTSCH NEPAL |
Kreuzung Vier |
CD |
Der vierte und letzte Teil der KREUZUNG-Serie! Sechsmal flirrender, hektischer, düsterer Elektro-Industrial & Dark Ambient der intelligenten Sorte. Hiervon gibt es leider nur 400 Stück!
"The fourth issue in a series of collaborations between Reutoff and their friends. This issue includes 3 tracks from Reutoff based on the source material by Deutsch Nepal and 3 tracks suite called “Jigsaw Puzzeling With A Dismembered Reutoff” created by Deutsch Nepal using the sounds delivered by Reutoff. The release comes in a special "Kreuzung" series package made of brown kraft carton with a full colour stickered artwork/info cover and Reutoff logo embossed on the back, the CD is housed in the same carton die-cut inner envelope. 6 tracks, 50 mins in total. First edition of 400 copies." [label info] |
2009 |
€14.00 |
|
| RLW |
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 |
|
| 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 |
|
| ROGERSON, DIANA & ANDREW LILES |
No Birds do Sing |
CD |
"... vom neuen album behauptet ehemann Stapleton, es sei das beste, das je eingespielt wurde. an der seite seiner frau tritt Aandrew Liles ins rampenlicht. er zählt zu den experimentierfreudigsten der gegenwärtigen elektrobastler und klangkünstler. soundcollagen, drone music sind sein metier und er wird in eine reihe gestellt mit größen wie heemann, chalk, basinski. so bildet sich ein duo, das kaum interessanter sein könnte, dem man mutiges und zugleich bewegendes, weil bisher nicht dagewesenes zutraut... konzentrationsfordernd ist es, daneben gilt es körperliche berührtheit zu ertragen, dem ansinnen zur flucht zu trotzen, dann wieder müheloses hin-hören, also eine mehr als dynamische rezeption einfordernd. launige samples neben aggressiver stimmung, hier geht so einiges zusammen, was scheinbar nicht zusammen gehört." [Das Klienicum]
"Everyone’s belle de jour Diana Rogerson and Andrew Liles got together to create what we regard as one of the most considered and well conceived albums Liles has been part of. 'No Birds do Sing' can only be described as a hallucinogenic voyage of disconcerting mysticism and cosmic pandemonium and is a recording he's very proud of. This disc is a completely black and comes in a stunning super high gloss digipack with wonderful artwork by Babs Santini." [label info] |
2008 |
€14.00 |
|
| ROZENHALL, DANIEL |
same |
CD |
1. A Plumage Man With A Plastic Bag (3.43)
2. Eyeland Part 1 (16.37)
3. Eyeland Part 2 (19.47)
4. Grig-ailment (6.39)
5. Sinister Laburnum (18.14)
Total time: 64.44
Tracks 1-3 were originally released on the LP Eyeland (Firework Edition Records, FER 1042) in 2003.
Tracks 4-5 were originally released on the LP Miasmasun (Firework Edition Records, FER 1032) in 2001.
All tracks were digitally re-mastered in 2007 for this CD edition.
All music by Daniel Rozenhall. Recorded at EMS, Stockholm.
Cover and insert artwork by Rozenhall. Graphic design by Rozenhall and Sten Backman.
"Time is an illusion. Nature consists of rhythms, pulses and the eruptive life wills of the organisms. And there is something unremittingly organic – or to be more exact bacteriological - about Rozenhall’s soundscapes. They demand their own lebensraum and squeeze themselves up between the dials on the mixing board. Sounds that have gone astray. In perpetual motion. A process without hiatus. Bacteriological objects forcing themselves upon us from the eye of the hurricane, while everything around us is twisted out of joint – time, space and the whole show. We contemplate but we aren’t able to interact. The body loses power over its movements and the world is transformed into flickering light. Yes, if we promptly need to speak of Rozenhall’s music, then we have to speak of the sounds between the frequencies, between the fingers, between the words, beyond the patterns. Where every nerve ending is revealed. Millions and millions of details. A rhythm without tonality. A music of negations. And our conversation cannot be anything else but the excretions that are left behind after the descriptive attempts have been halted - the waste product of sounds. Try to lie still to this. Rozenhall unveils your couchpotatin’ for what it is: an imagined resting place on a globe of galactic driftwood.
Rozenhall’s music has nothing to do with greeting phrases. This is the way a farewell sounds. To part is to begin again with oneself. The last handshake that allows thought to return to one’s own drawing board. Rozenhall has created the ultimate soundtrack for this swiftly passing ground zero. When you without help from anyone else have to confront the vertigo within yourself. The dizziness that happens before you have caught up with your own autobiography and the private mythmaking that allows you to return to your ordinary habits.
And the first thing you meet is the treble. The shrill tone that is allowed to radiate into every cavity. Impossible to figure out like a rubik’s cube without a solution. A sound wave from an alpine landscape, deserted and windswept. It’s like if The Overlook Hotel in Stanley Kubricks’s ‘The Shining’ started sending out its own emotional state through a forgotten radio channel. And it is our fate to lay frostbitten with our axes raised for attack in the garden labyrinth."
[Daniel Westerlund , Writer and publisher]
www.fylkingen.se
|
2008 |
€13.00 |
|
| RRILL BELL |
False Flag Rapture |
MC |
Following up on 2020's critically acclaimed "Ballad of the External Life" LP, Rrill Bell's latest outing on Elevator Bath is a complex amalgamation of acoustic source materials (metallophones, winds, strings, and brass), (cassette) tape treatments, and digital assemblages, which coalesced over a period of six years, starting from the artist's desire to build a highly personal album around a turn-of-the-century recording of his late grandmother singing an impromptu hymn in Slovak dialect at a family gathering, resurrected from memory after lying dormant for 50+ years. Working through a family legacy of religious hallucinations/visions, the album (in spite of its tongue-in-cheek title) unironically explores themes of potentially staged transcendence, ecstasy of suspicious origins, vulnerability, inspired/anxious states of mind, fractured identity, doubt, rupture, redemption by proxy, and the dilemma of being forced to adopt a perspective in a contingent universe.
The music on "False Flag Rapture" is restless yet focused, shifting, evolving – like "Ballad...", never staying in one place too long – and features a wide range of aural perspectives, as well as a strong sense at times of "listening with", rather than merely "listening to". Hyper-detailed, darkly tinged ecstatic/manic passages alternate with dreamlike chamber pieces and muted celestial drifts cloaked in an uneasy haze, with the occasional disarming reveal.
A labor of love begun in earnest in 2015 and completed in 2021, "False Flag Rapture" is a testament to abstract electro-acoustic music's oft under-appreciated potential to treat deeply personal themes while connecting alienated human beings.
Born and raised in the US-American Rust Belt, and a resident of Germany for over two decades, Rrill Bell draws on the formative inspirations of radical scratch culture, Cagean thought, harmolodics, musique concréte, and various other strains of experimental music practice. Originally rooted in the world of improvisational performance, over the past decade his work has expanded to include various hybrid approaches to location recording, augmented reality, composition, and audio narrative.
In addition to 2020's "Ballad of the External Life" LP on Elevator Bath, Rrill Bell's music has previously been released by the Klappkart, Gertrude Tapes, Weird Forest and Denovali labels, among others.
Rrill Bell: chimes, vibraphone, crotales, glockenspiel, drum machines, tapes, dictaphones, tape decks, and electronics
featuring contributions from
Felix Fritsche: clarinets/flutes
Koenraad Ecker: cello
Alex Morsey: contrabass/tuba
Mastered by James Plotkin
Artwork/collage by Rrill Bell
Photography by Katrin Koenning
Layout by Colin Andrew Sheffield
42-minute lime green cassette with full-color six-panel j-card in clear Norelco case, plus full-color outer o-card featuring collage art by Rrill Bell.
https://rrill-bell.bandcamp.com/album/false-flag-rapture
|
2021 |
€11.00 |
|
| SAL SOLARIS |
Die Scherben 2004-2010 |
CD |
"kultFRONT and ZHELEZOBETON labels are glad to announce the new CD by one of the most outstanding Russian post-industrial projects - Sal Solaris. This release follows the logic of the "Der Ruf" compilation CD (2006, Der Angriff) and collects the tracks recorded at different times on various occasions. Among other tracks the disc contains compositions from the compilations "The Black Square" (2006, kultFRONT), "Iznutri" (2007, Ewers Tonkunst), "Rush for Black Celebration" (2008, kultFRONT), "Heliophagia III" (2009, Heliophagia), "Art of Caring the Dead" (2009, Dodozavr), "Heliolatria" (2010, Heliophagia), also tracks from the split 10" record with Stahlwerk 9 (2004, Der Angriff) and several previously unreleased compositions.
When describing the sound of Sal Solaris reviewers often mention the neologism "power ambient" and we can't but agree with this term. The music of this duet coming from Rostov-on-Don and Moscow combines the elements of dark, often space ambient, post-industrial and power electronics, a collage approach and a dense saturated atmosphere, not relaxing but rather stimulating the listener. A collection of works created during various years allows to trace the live dynamics of the project - from the austere ideological persistence of the "early National-Bolshevist period" to the more sculpturesque and psychedelic compositions, including some naive but remarkable exercises.
The works feature contributions from many band friends, including Russian cosmist writer Ivan Polikarov, lead artist of "Crazy Pierrot Cabaret" Sergey Vasilyev, piano player & composer Anna Antropova, decadent cynic and erudite DJ Deutschmark, master of noises Nikolay Lepesa, trombone player Seung-hui Cho and even Pyotr Ilyich Tchaikovskiy.
The artwork is done by the famous visual artist and media philosopher Oleg 'cmart' Paschenko (http://holesk.in | http://www.conclave.ru).
With this CD kultFRONT & Zhelezobeton labels open the series named "Die Zeichen" aiming to publish the archival works of Russian post-industrial projects." [label info]
|
2013 |
€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 |
|
| SAND |
Vibrating Cloud |
do-LP |
DOUBE LP. Over 5 decades Sand is a timeless narrative machine full of pictures and scenarios, each title a unique piece that stands alone. The band took off with 'Golem', the analogue primitive robot that became independent and out of control. A hybrid creature related to Enki Bilal's mutants, androids, animal humans or automatons. This is their collaboration with artwork by Bilal. Contains 16 tracks of which 6 are remakes from the '70s. Comes on 200 gram vinyl.
https://rotorelief.bandcamp.com/album/vibrating-cloud
|
2020 |
€32.50 |
|
| |
Vibrating Cloud |
do-CD |
Over 5 decades Sand is a timeless narrative machine full of pictures and scenarios, each title a unique piece that stands alone. The band took off with 'Golem', the analogue primitive robot that became independent and out of control. A hybrid creature related to Enki Bilal's mutants, androids, animal humans or automatons. This is their collaboration with artwork by Bilal. Contains 16 tracks of which 6 are remakes from the '70s. Comes on 200 gram vinyl.
https://rotorelief.bandcamp.com/album/vibrating-cloud
|
2020 |
€18.50 |
|
| SANTOS SILVA, SUSANA / HAMPUS LINDWALL / TORBJORN ZETTERBERG |
Hi! Who are you? |
LP |
The trio Susana Santos Silva / Torbjörn Zetterberg / Hampus Lindwall emerged in 2015 with their first album If Nothing Else (Clean Feed CF348) which was received with critical acclaim. The unique conceptual approach to composition & improvisation rooted in both free jazz and contemporary classical music was described as “guaranteed a unique listening experience” (JazzIn), “It is art!” (Gapplegate Music Review) and “unique sound and style” (New York City Jazz Record). On their new album “Hi, who are you?” (Matière Mémoire MATME004LP) they have taken the musical creation a step further by adding live electronics for real time sound treatment. Different techniques from experimental electronic music is juxtaposed with simple use of electric guitar effects to obtain tight and highly emotional sound.
Susana Santos Silva - trumpet
Torbjörn Zetterberg - double bass, and electric noise on track 5 and 10
Hampus Lindwall - pipe organ and live electronics
All music composed and performed by Susana Santos Silva, Torbjörn Zetterberg and Hampus Lindwall
Produced by Susana Santos Silva, Torbjörn Zetterberg and Hampus Lindwall
Recorded by Torbjörn Zetterberg in Engelbrektskyrkan, Stockholm, Sweden, January 20-21 2018
Mixed by Torbjörn Zetterberg in Mörbylund, Sweden
Mastered by Mats Äleklint
Cut by Frédéric Alstadt at Ångström studio, Brussels
Artwork collage by Dan Lean (Merciful Stranger Art)
Graphics and layout by Cedric D’hondt
The organ in Engelbrektskyrkan was built by Grönlunds Orgelbyggeri in 1964 and restored in 2013 by the same company. It has 91 stops, 5 manuals and pedal.
https://matiere-memoire.bandcamp.com/album/hi-who-are-you
https://matiere-memoire.bandcamp.com/album/hi-who-are-you
In 2015, Portuguese trumpeter Susana Santos Silva teamed up with Swedish musicians Torbjörn Zetterberg on bass and Hampus Lindwall on organ. The combination is relatively unique, as is their sound. Santos Silva is one of the leading voices in contemporary improvised music, often performing together with Zetterberg. Their collaboration with Lindwall is more selective. In 2015 they released "If Nothing Else", and we are happy that the next iteration of their music is now available, albeit in only 300 vinyl copies, so you'd better hurry.
The sound of Lindwall's church organ is critical to the overall feel of the music. Under the influence of his organ teacher, Rolande Falcinelli, he moved to Paris in 2002 and studied at the Conservatoire de Saint-Maur-des-Fossés and the Conservatoire National Supérieur de Musique in Lyon. He is the Titular Organist in Saint-Esprit, Paris.
In an interview with us about their debut album, Susana Santos Silva explained their approach as follows: "It's improvised music but with a great sense of structure and development within each song. And that's what can be so beautiful in an improvised piece of music, that all the notions of composed music, like the development of an idea, theme and variations, counterpoint, leitmotifs, dynamics, question-and-answer phrasing, different layers, textures, and so on, can just happen spontaneously, in the moment".
Most of the music is acoustic, but frequently altered by live electronics. The result is a strange sonic world, that is at once brutal, haunting, reverent and riveting. The performance was recorded in the Engelbrektskyrkan, a church in Stockholm, selected amongst others for its recently restored organ, that has 91 stops, 5 manuals and pedals.
The resonance of organ, trumpet and bass in the church makes this an even more special performance. In a way, you have to be in the space itself to fully enjoy it, even if the sound quality of the album is also astonishingly good.
Highly recommended!
---
I had the luck to see the trio perform in 2017 in the Saint Jacob's Church in Ghent, Belgium, where I recorded the following video vignettes with my smartphone. Not the ideal quality, but it gives an impression of what this music means in a real church. The trio is of course high up on the balcony next to the organ.
[The Free Jazz Collective] |
2019 |
€23.00 |
|
| SAUNDERS, BRYAN LEWIS |
Near Death Experience |
LP |
"Bryan Lewis Saunders is a performer and sound poet. He works here with different musicians. Extreme sound poetry ! With music from Joachim Montessuis, Marcelo Aguirre, Christopher Fleeger, M. Peck, John Duncan, Spastic Dementia, Kaontrol Kontraos, Murmurists. Produced, mixed, mastered and edited in 2010 by Joachim Montessuis. Artwork by Felix Rosier. LP gatefold limited to 500 copies. Comes with a link to download a digital version with bonus tracks and a pdf with all texts." [label info]
www.erratum.org
|
2010 |
€15.00 |
|
| SCATTERWOUND |
T.L. (Trilogy Live) |
3 x CD set |
P.H / Platzhirsch 2017 / played by Dirk Serries + N at St. Joseph Church (Duisburg/Germany)
recorded by the Platzhirsch Festival Team
R.B / Roadburn 2018 / played by Dirk Serries + N at 013 (Tilburg/Netherlands)
recorded by Marcel van de Vondervoort and his Team at Roadburn Festival
M.N / Moving Noises 2019 / played by Dirk Serries + N + Martina Verhoeven
at Christuskirche Bochum (Bochum/Germany)
recorded by Christoph Scheidel
SCATTERWOUND :
Dirk Serries : electric guitar, effects, amps
Hellmut Neidhardt : electric guitar, effects, amps
mixed and mastered by Fear Falls Burning
artwork by N
Triple CD / Limited to 150 copies
reverse board printed sleeve / 6 panel digisleeve on Midira Records, 2023.
https://dirkserries.bandcamp.com/album/tl-trilogy-live
|
2023 |
€26.00 |
|
| SCHNITZLER, CONRAD & WOLFGANG SEIDEL |
Music is not Language. Neither is it Painting. Just Music |
LP |
"A posthumous duo LP featuring text and music by Conrad Schnitzler, music by Wolfgang Seidel, and artwork by Matt Howarth!
Conrad Schnitzler and Wolfgang Seidel have been musical collaborators since the early 1970s when Seidel performed in Schnitzler's free-form group Eruption that had been founded as a successor to Kluster and featured a revolving cast of members. In the 1980s, they produced the duo albums Consequenz, Consequenz II and Con 3 where Seidel performed under his alias Wolf Sequenza.
Shortly before Schnitzler's death in 2011, he handed Seidel a hard disk of his archive including a huge collection of music originally recorded to CD-R, subdivided into "solos" and "mixes", where solos are building blocks to be blended with other solos in a performance, and mixes are recordings of such performances. One of those solos turned out to be a spoken-word CD-R, aptly titled "CONtext", where Schnitzler gives an account of his musical philosophy – in a performative lecture with a lot of humour. It is not known what he intended this recording for, but its unique character made it a natural choice for a building block of a new piece.
Instead of making a collage with other solos from Schnitzler's archive, Seidel decided to record his own music to accompany the text, inspired by the early-1970s Eruption recordings. The resulting 8-channel piece was mixed down to stereo for side A of this LP and features Schnitzler's voice and English text-to-speech subtitles for his non-German-speaking fans. Side B contains an instrumental posthumous duo for which Seidel used excerpts from Schnitzler's EMS synthesizer performance at the Gallery House in London in 1972.
The cover artwork was created by US comic artist Matt Howarth and features Con, a character from his Savage Henry comic book series who is a "German synthethist" and member of the premiere insect-rock group, the Bulldaggers.
"Any combination of sounds is just as valid as any other. Any means for the production of a group of sounds is just as valid as any other means. [...] Music is not what reaches our ear as a sound wave. It's not the sounds that are music, but what we've made out of them and what has been heard from them." (Conrad Schnitzler)
Edition of 300 with printed inner sleeve and insert containing a transcript of side A and liner notes."
www.edition-telemark.de/923.06.html
|
2021 |
€20.00 |
|
| 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 |
|
| SECONDS IN FORMALDEHYDE |
Inaudible |
CD-R |
"Auch "Inaudible" besticht wiederum durch die angenehm- zurückhaltende Art des Künstlers, musikalisch, wie auch im persönlichen Auftreten. "Inaudible" beginnt mit sanften Drones die irgendwo da zuhause sind, wo die Grenze zwischen Himmel und Ozean am Horizont verschwimmt. Grenzgang wie Naturerfahrung gleichermassen. Lange Akkorde tragen den Hörer durch weite, spärliche Klangfelder. Die wohl grösste Neuerung diesmal sind die minimalen, auf leichten Füssen daherkommenden Beats, sowie die Percussion Loops, die an minimalistische Elektronische Musik erinnern. Ich mag es, wenn sich Künstler, die sich einem bestimmten Genre zugehörig fühlen, trotzdem den Mut haben, neue Schritte zu gehen, andere Wege zu beschreiten. Wer würde bei Fear Falls Burning, Aidan Baker und Konsorten damit rechnen, dass eine Platte plötzlich Beats aufweist? Wohl eher niemand. Um so interessanter dies nun bei Seconds In Formaldehyde verfolgen zu können. Die Beats sind sehr dezent und gekonnt zurückhaltend gestreut, was den typischen ruhigen Drone-Klangforschungen keinerlei Abbruch tut. Dennoch, es ist hier Vorsicht geboten, denn die Beats haben leicht die Tendenz, zu artifiziell und generiert zu klingen. Etwas mehr erdig-lebendiges ist hier gefragt, um die eben oben genannten Naturerfahrungen im Geiste entstehen zu lassen und weniger das Gefühl von, auf die Schnelle, ganz pauschal: "Computermusik. "Inaudible" erscheint in einer Kleinstauflage von 60 handgemachten Digipacks auf dem Suggestion Underlabel Verato Project." [Creative-Eclipse]
"Inaudible" features 3 new tracks that will show a new side of SiF. Guitar drones mixed with some minimal beats and tribal percussion. Fans of Aidan Baker and Fear Falls Burning should like this tunes. First edition will be released in a handmade digipack artwork!" [label info]
www.verato-project.de
|
2007 |
€9.00 |
|
| SEEMANN |
Schleuse |
CD-R |
Seemann: Klavier , Glocke , Klangschale , Perkussion , Singende Säge , Bass und Bogen , Stimmen
Nika Vero: Artwork
https://seemann1.bandcamp.com/album/schleuse
|
2021 |
€7.50 |
|
| |
Hemisphäre |
CD-R |
Seemann: Harmonium, Piano, Samples
Master: Gunnar Rieckmann
Artwork: Nika Vero
https://seemann1.bandcamp.com/album/hemisph-re
|
2022 |
€8.00 |
|
| SEETYCA |
Bleakscapes |
CD |
"Everyone into dark ambient should be already familiar with Seetyca project from Germany. Bleakscapes full-length is an incredible dark journey, it consists in 77 minutes of drones, minimal dark ambient sound pleasures for the ear and mind.
bleakscapes was conceived and recorded in winter and spring 2010 @ mbira v.06. seetyca plays e-maschinen, samplers, bells, flutes. artin mucht plays synth. etheocles stevens provides voices & string samples, recorded with the oregon origo string quartet. mixed and mastered by seetyca & artin mucht. Additional artwork and final mastering by C." [label info & credits]
www.essentiamundi.com
"Back in Vital Weekly 549 we reviewed a triple CD set 'Nekton Falls', with twenty six pieces by as many people working, loosely, with field recordings. That project was organized by Seetyca, with whom I seem to have lost contact a bit over the years, but a recent e-mail exchange lead to him sending his latest work and probably my first proper introduction into his music. He has worked in ambient and experimental music since 1994 and besides his solo music he is also active with groups like vzusdw, Circle Of Pines, Postmoderne Phonombel, Origami Nalebariska and moedra and has been involved in some eighty releases, sometimes on his own Mbira label. On his own he plays 'e-maschinen, samplers, bells and flutes', while receiving help on synth, voices and string samples from others. Despite the title this is not as bleak as one would expect, deepscapes would have probably been a better title, as these seven, mostly, lengthy excursions are in the world of deep atmospheric ambient music. The final piece is the shortest and the most experimental, with a cluster of organ sounds but very much in the digital field - bleak perhaps indeed. In the six other pieces Seetyca keeps himself in control within the tight (?) rules of deep ambient music: long sustaining sounds, effectively more so by the use of reverb, to generate that necessary feel of atmosphere, dislocated bell and flute sounds. While the early autumn sun truly blazes outside, this is might not be the perfect soundtrack for such circumstances. I guess this nocturnal work is more suited for late night listening. Perhaps in its genre not the most original album, but then: what is these days? On the other hand, purely looking from the point of musical content, this is really a great album. Refined, contemplative and rich in sound." [FdW, Vital Weekly]
|
2011 |
€12.50 |
|
| |
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 |
|
| SELAXON LUTBERG |
Simboli Accidentali |
LP |
"SELAXON LUTBERG ist das Ambient Projekt des zurückgezogen lebenden italienischen Künstlers Andrea Penso. Nach zwei Alben, einem weiteren Album in Kollaboration mit Subinterior und verschiedenen EPs, erscheint mit SIMBOLI ACCIDENTALI (Zufallssymbole) sein drittes Album und die dritte Veröffentlichung bei Denovali Records. Wie viele seiner Arbeiten, steht auch das neue Album in enger Verbindung mit Andreas Biographie. 'Während ich das Album komponierte, habe ich versucht mich auf Zufallssymbole zu konzentrieren, die meiner Kindheit entstammen und näherte mich ihnen an - nicht um sie im Detail zu studieren, sondern damit ich ihre Essenz herausfiltere. Diese 'subjektiven Sounds' des Albums gehen aus eben jenen Gedanken und Erwägungen hervor." Um dieses Motiv zu unterstützen, beinhaltet auch das Artwork eine impressionistische Geschichte aus Andreas Kindheit. Simboli Accidentali besteht aus acht Tracks, die allesamt zwischen 2010 und 2012 bei Andrea zu Hause aufgenommen wurden. Die typisch warmen und umhüllenden Songs sind größten Teils auf bearbeiteten, kaum wiederzuerkennenden Gitarren, einer alten billigen Orgel sowie Loops aus zerstörten Tapes und Schallplatten entstanden. Der daraus resultierende Sound findet sich wieder in der weiten Landschaft aus Ambient/ Postrock, bekannt durch Musiker wie LABRADFORD und SLOWDIVEs Pygmalion Ära, den analogen und verfallenen Loops bei PHILIP JECK und WILLIAM BASINSKI oder auch dem cineastischen Gefühl von STARS OF THE LID oder DAVID LYNCHs Drones. Es ist an der Zeit in all dies einzutauchen." [label info]
www.denovali.com
|
2013 |
€20.00 |
|
| SERRIES, DIRK / STEFANO GENTILE |
The Disintegration of Silence |
CD + BOOK |
DIRK SERRIES
THE DISINTEGRATION OF SILENCE
28-page 8" Book + CD, ltd. 250 handnumbered copies
Stefano Gentile and Dirk Serries met almost thirty years ago when Stefano’s Amplexus label released Vidna Obmana’s seminal classic "The Transcending Quest" on a limited 3” CD. Fast forward twenty years later, after the ending of Dirk Serries’ critically acclaimed Vidna Obmana project, Stefano and Dirk, under his own name, regathered with another gem "The Devastation Chant", a limited 8” lathe cut and a 10” vinyl on Gentile’s new label Silentes/13 that featured Stefano’s own impressive collage artwork. Now again, after four years, Dirk Serries, fully operational under his own name as a free (jazz) improviser, frequently returns to his trademark ambient music while continuing to push himself as an artist and sound sculptor. THE DISINTEGRATION OF SILENCE is Dirk’s new album that, partially inspired by the melancholic collage artwork of Stefano Gentile, plays with the sounds he has been recognized and appreciated worlwide for almost four decades, while - so typical for Dirk’s ongoing knack for adventure - expanding the comfort of his ambience with alienating analog and real-time treatments. An album that has been performed solely on electric guitar in conjunction with plenty of pedal effects and absolutely no computers. Enjoy this breathtaking work of melancholy and introspection, marking it another milestone in the collaboration between Stefano Gentile and Dirk Serries.
https://dirkserries.bandcamp.com/album/the-disintegration-of-silence
"The most extensive package is the 28-page booklet, 8 inches squared of collages by label boss Stefano Gentile and music by Dirk Serries. The two go back some thirty years, when Gentile's first label enterprise, Amplexus, released a 3"CD by Serrires, then working as Vidna Obmana. Four years ago, Gentile released some more music by Serries, now working under his own name, on vinyl and 'The Disintegration Of Silence' is their latest offering. In the booklet, we find collages by Gentile from fashion ads, words, and newspapers, all looking quite colourful. As I am playing Serries' music at the same time, I am thinking about his music concerning the collages. Maybe the music resembles black-and-white photography of nature shots, trees and such. Still, the relation between images and music becomes more apparent if you look at the images as worn-out pages from magazines from a long time ago. These days, Serries is more known as a player of free
improvised music, but he occasionally returns to the world of ambient music, and this is what he does here, playing five excellent moody tunes on his guitar. Many guitar effects are used, some of which are a bit hissy, such as in the second part. At times, it sounds like he has been made on a reel-to-reel tape, using various bits of tape stuck together, with the music recorded later. It creates a refined, somewhat unsettling atmosphere and sometimes just a beautiful atmosphere in the longest and final piece. It's always good to hear Serries doing this kind of music occasionally. I understand his heart might be somewhere else, but I assume he also wants to unwind after a hard day of improvising and do what he does very well. A true beauty." [FdW / Vital Weekly] |
2023 |
€20.00 |
|
| SHADOW MAGNET |
Source and Purity |
CD-R |
“the female side of COMBATIVE ALIGNMENT presents the first full-length recordings devoted to the two-sided face of mankind. martial structures and drums meet the meditative side of the brain and create a great spectre of martial meditation. very complex compositions of massive sounds and powerful drums in a great art niveau style and artwork lead you to the source and purity...” [label description]
New Avatar release, and as always guaranteed quality. Carefully constructed ritual/martial atmospherics. SM always remind me of Contrastate in some vague ways (though in this case, some Turbund Sturmwerk as well) ; dark, brooding, and compelling, with a subtle, refined power. Grows stronger as it progresses, becoming more majestic and archaic, ancient voices filtering in through a rippling fog of mesmerizing and at times poignantly nostalgic atmospheres.” [Malignant Records info]
|
2006 |
€9.50 |
|
| SHIBALBA / BLACK SEAS OF INFINITY |
Mahakala |
CD |
"For their next split, SHIBALBA united into morbid congregation with BLACK SEAS OF INFINITY...
Utter grim horrific rite to glorify Great Black Goddess Kali. Far beyond the manifestations of Maya, obtain the dark essence of Her - Dark Shakti of Siva, Destroyer of Time, A Transcendental Blackness." [Nihilward info]
"The conjoined work of the order of Shibalba and Black Seas of Infinity, constitutes an undertaking and exploration of the supreme Kala, through musical, visual and literary transmissions and receptions an adoration unto Kali. She is the adored and the adorer, our blood shall be as her venom, our skull as her ornamentation.
Members of the Memphitic Coven of Shibalba:
Acherontas V. Priest Aldra-Al-Melekh
Recorded at the Halls of Christian Cambas, during the waning crescent moon of January MMXV. Mixed and mastered by Christian Cambas.
Artwork/Layout by Synthetic.
Front And Back Painting By David Hereiras.
Cd is coming by Nihilward Productions and Handmade edition in Tape and special box set tape by Arsenestre
Lp is coming later by Nigrum Serpentis.
Tshirt Merchandise by Nigrum Serpentis On October.
[Shibalba Bandcamp info]
www.nihilward.com
|
2017 |
€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 |
|
| SHRINE |
Harmony, Bliss, Rust |
MC |
"Harmony, Bliss, Rust" was originally released on the now defunct Swedish net label Mirakel Music in March, 2006. It was the first Shrine release ever. Twelve years later it is reborn on this tape and available in a physical format for the first time. This re-issue of "Harmony, Bliss, Rust" features a brand new artwork.
All music is composed and arranged by Shrine in 2005.
Graphic design and prepress: Shrine.
Shrine is Hristo Gospodinov.
"Harmony, Bliss, Rust" is a passage from tranquility to disharmony. Three lengthy compositions will take you to uncharted desolate places with their slowly evolving sounds. The beginning is very soft and laid back and the end is harsh and distorted... but this doesn't keep the album from being soothing. It works great both as usual background ambience and for active listening." [website infos]
shrine-ambient.bandcamp.com/album/harmony-bliss-rust
|
2018 |
€7.00 |
|
| SIEBEN |
Each Divine Spark |
LP |
Each Divine Spark was lovingly knitted and written, rehearsed and diced; recorded live, loud and looped in a beautiful space; layered delicately and slow-roasted at home over UA-Ds, tape saturation and warm delays; passed over the ears of people who appreciate and emit sonic sorcery; then sensitively mastered to preserve said sonic sorcery. The space in this record is the subtlest sound I have never made, but can lay claim to.
All the loops for Each Divine Spark were recorded live and loud down to 2” analogue tape at Club 60 Recording Studio, Sheffield. Mics and blends by Paul Blakeman. Extra layers, vocals, and guest musicians added at Redroom Studio. Michael Eden plays guitar on tracks 8 and 10. Sarah Jay Hawley sings on tracks 3, 5, 8, 9 and 11. April Howden sings on track 2. Jo Quail plays cello on track 4. Mixed at Redroom Studio, Sheffield. Additional listening and sound advice by Paul Blakeman, Dan Worrall and Robin Downe. Mastered by Dan Worrall at the Laundry Rooms, Sheffield. Artwork by Martin Bedford. Written, performed and produced by Matt Howden.
P+C Redroom Records 2014
https://sieben.bandcamp.com/album/each-divine-spark-2014
|
2014 |
€19.50 |
|
| SIGMARSSON, SIGTRYGGUR (BERG) |
For Einar Jonsson (1874-1954) |
BOOK & CD-R |
"Perhaps by now a somewhat forgotten fact, but Sigtryggur Berg Sigmarsson may be best known as a member of Stillupsteypa (and for their collaborations with BJ Nilsen), but he's also a visual artist and once the 'owner' of a record label, called Some. He tells me this package is a sort of revival of that label. The book at hand is a catalogue of artwork from the years 1997 to 2014. Lots of drawings, photos of performances, but also photos of objects, pictures of the artist as a child, letters, and some words, but no expert insight essay. Which I guess is a good thing. It leaves some of the mystery in tact and has a fine naive impact on the viewer, perhaps establishing him as an outsider. The book is published in an edition of 100 copies, half of which are sold and the other half comes with a fourteen-minute piece of music, called 'For Einar Jonsson (1874-1954)'. He was Iceland's first sculptor, who drew inspiration from the Icelandic folklore heritage, but also using mythological and religious motifs (I am quoting a website here). Later on he rejected all classical art tradition and enamoured theosophy. The fourteen-minute piece is a way too short for my taste - and for the book. I wanted to sit down, play the music and all along look at the images, but I had to put the piece on repeat. Sigmarsson uses what seems to me the sound of a church organ, and turns it into this heavily processed piece of drone music. A bit stretched out, many layers and all along the source material can be recognized, which gives the piece, perhaps, also a religious motif. It's the kind of drone music we know Sigmarsson do very well, and here he doesn't disappoint us either. Except of course that it could have been twice as along - at least. Putting it on repeat is not the same thing, but will do as well. Hopefully more to come!" [FdW/Vital Weekly] |
2014 |
€16.00 |
|
| SIJ |
The Earth Shrine |
CD-R |
"Second "shrine" from imaginative world of SiJ music expands the colorful landscapes of ancient myths and legends, merging tribal pulses with timeless ambient flows. Entraining mind with mysterious sounds, this album isn't just telling stories, but invites the listener to solve enigmas of hidden shrines and symbolic tales. From here and now - to infinite beyond.
All tracks written, mixed and mastered by Vladislav Sikach 2013-2014.
Field Recordings, Synthesizer/Keyboards, Bells, [Metal] Percussion, [Bamboo & Metal] Wind Chime, Toy Piano, Flute, Singing Bowl, Contact Microphones by Vladislav Sikach.
Percussion by Robert Rich, Bill Laswell, Robin Storey/Rapoon.
Field Recordings by jymdavis, AhmadSA, D W, everythingsounds, annhawks, Sclolex. Singing Bowl by Tim Six/Creation VI, eliasheuninck, the_very_Real_Horst, Coleco. Duduk by Ilya Fursov/Textere Oris.
Artwork & Cover Design by Tim Six.
Postcard photos by Madina Rzaeva.
~~~~~~~~~~~~~~~~~~~~~~~~~
Site: sijmusic.info
Bandcamp: sijmusic.bandcamp.com
Facebook: soundcloud.com/sijmusic
SoundCloud: www.facebook.com/sijmusic
~~~~~~~~~~~~~~~~~~~~~~~~~~
Detailed info about used matherials:
Robert Rich
Dumbek, Bells (track 1)
Gong, Shunt, Waterphone (track 3)
robertrich.com
www.sonycreativesoftware.com/robertrich
Bill Laswell
Bells (track 1)
Tabla, Bata, Bells (track 2)
Khene, Djembe, Madal, Woodblock, Chatan, Tabla, Batá, Bells (track 3)
www.billlaswell.net
www.sonycreativesoftware.com/laswell1
Robin Storey (Rapoon)
Bells, Clay Drum (track 2)
www.the-edge.ca/pretentious/rapoon/home.html
www.sonycreativesoftware.com/rapoon2
Tim Six (Creation VI)
Singing Bowl (track 2)
creation6.bandcamp.com
vk.com/creation6
Ilya Fursov (Textere Oris)
Duduk (track 2)
soundcloud.com/textere-oris
vk.com/textere_oris
vk.com/fursovilya
eliasheuninck
Singing Bowl (track 1, 4)
www.freesound.org/people/eliasheuninck/
the_very_Real_Horst
Singing Bowl (track 2, 4)
www.freesound.org/people/the_very_Real_Horst/
Coleco
Singing Bowl (track 4)
www.freesound.org/people/Coleco/
jymdavis
Field Recordings (track 1)
www.freesound.org/people/jymdavis/
AhmadSA
Field Recordings (track 4)
www.freesound.org/people/AhmadSA/
D W
Field Recordings (track 4)
www.freesound.org/people/D%20W/
everythingsounds
Field Recordings (track 4)
www.freesound.org/people/everythingsounds/
Sclolex
Field Recordings (track 4)
www.freesound.org/people/Sclolex/
annhawks
Field Recordings (track 4)" [label info]
pantheophania.bandcamp.com
|
2015 |
€10.00 |
|
| |
Way to Dream |
CD |
Сardboard envelope with CD disc in blue hand stitched cloth bag.
"Last rays of setting sun reflected from the azure sea surface picked up the purest, deepest dreams and flew away like a rapid sailboat. The light fades over horizon, giving way to lullaby of twinkling stars...
This most personal album in SiJ discography is dedicated to his beloved, and its transparent sound awakens a romantic dreamer in every careful listener. Born somewhere between the sky and sea, in silent evening dialogue of elements, melodies of this album are lining up in compositions like a guiding stars, so everyone could find its own "Way to Dream."
credits
released August 22, 2015
ΠΑΝΘΕΟΝ Records | ПAN037
▲▼▲▼▲▼▲▼▲▼▲▼▲▼
Written, mixed and mastered by Vladislav Sikach in 2014.
Dedicated to Anna Sikach.
Synthesizer / keyboards, field recordings & contact microphones, noises, guitar, percussion, toy piano and voice by Vladislav Sikach. For other materials used in this release visit:
sijmusic.info/works/physical-release/way-to-dream/
Previously self-released by SiJ in edition of 12 CDR's.
Lighthouse painting and cloth bags by Aloe.
Painting on CD by Anna Sikach.
Envelope artwork by Tim Six." [label info]
pantheophania.bandcamp.com
|
2015 |
€13.00 |
|
| SILK SAW |
Parallel Landscapes |
LP |
"Limited edition of 300 copies with unique artwork made by Russian street artist (Grisha), which were carefully adapted to sleeve design by Mikhail Myasoedov. The vinyl LP contains 4 selected tracks from the full 8-track album.
After 9 years of silence, here’s the 11th album from the unclassifiable Brussels-based duo. With their usual tamping drums (just mention the two parts of “The Decision to Exist” or “Same Area”, led by a ferocious 808), a regular bass guitar hammering, some bare minimum poor voices, threatened violins, skinbound flute and oboe here and there, a distorted furious piano everywhere and finally some tiny cautious optimism (the extra-human guitar in “Enough Slaps”), the whole is carefully assembled in order to obtain an accurate picture of life on Earth. “Pain” and “Pleasure” are different aspects of the same mental construction." [label info]
www.kotaerecords.com
|
2015 |
€18.00 |
|
| SIRIA |
Boa-Lingua |
MC |
Boa-Língua is the second album by Síria. It departs from her former work, Cuspo, using it as a foundation for structure and duration, while following very different pulses. Boa-Língua was made from recordings of practice sessions that were not originally intended to be used or worked as songs. Boa-Língua means “good tongue”, used in opposition to “má-língua”, literally “bad tongue”, a Portuguese expression for “tittle-tattle”.
“Canção do Gato” is a version of a song recorded by Tiago Pereira from A Música Portuguesa a Gostar Dela Própria. “Nos Montes” was remixed by @c (Pedro Tudela and Miguel Carvalhais). “Senhora dos Remédios” is a version of a song as sang by Catarina Chitas and features a sample by Maile Colbert. “Belgian Shepherd” is a remix of the track by Rui P. Andrade from his album All Lovers Go To Heaven, it combines original sounds with recordings and voice, and it was previously released in Island Fever by Colectivo Casa Amarela. “Ay Işığında” is a version of the song as sang by Nərminə Məmmədova . “For Ghédalia” and “Boa-Língua” feature recordings by Los Niños Muertos (André Tasso and Bruno Humberto).
Síria is Diana Combo, who in this project joins her voice to the usual practice of combining vinyl records, field recordings, and other sound sources, in a gesture of appropriationism that she has been presenting as EOSIN.
----
Like my previous album, Boa-Língua was born and developed as a result of a subconscious will and energy, rather than a clear idea that was intended to be seen and heard.
During a season in the studio, the voice was given way to freely exist in a context of exercises of improvisation. These sessions were recorded and later heard as a tool to analyse vocal practice. Spontaneously and intuitively, these recordings began to be edited, combined and mixed, until a sequence of 9 proto-songs emerged.
Each theme waited for the sounds that intertwined with the voice. As it had happened in Cuspo. This time, however, the voice was mostly used in its original version of vocal exercises, because the work was anchored in this spontaneity and unintentionality. And it developed by itself, with me being an attentive vehicle, an open channel for the work to flourish. The sounds beyond the voice come from various sources: percussions were recorded by me in the studio, other sounds were collected from archives.
The space for introspection and self-examination that the studio provided came at a time when I felt it was necessary to find an answer to the perceived tendency for obloquy, reproach, gossip, voluntary misunderstanding, etc. I asked myself: What happens when we find ourselves in the midst of people who behave in this way, sneaky or directly? Do we become, sooner or later, the same? Do we silent ourselves as a response? Or do we resist this tendency through the opposite attitude? That's where the album’s title came from.
The repertoire of Boa-Língua consists of versions of traditional songs and chants, a version of one Azerbaijani song, two originals (one in Turkish, one in Portuguese) and two original songs in which the voice does not take the form of words.
Voice and percussions: Diana Combo
Recording, editing and first mix: Diana Combo
Post-production: Tiago Martins at Fisgastudio
Mastering: Miguel Carvalhais
Artwork: Miguel Carvalhais with photos by Diana Combo
https://cronica.bandcamp.com/album/boa-l-ngua
"So wie einem die besten kreativen Gedanken oft beim Gehen oder in der Badewanne kommen, entstehen die Releases von Sängerin Diana Combo alias Síria meist als Nebenprodukte kleinerer Arbeiten, die ganz unerwartet ein Eigenleben erhalten. So wie sich ihr erstes Album aus einer Auftragsarbeit heraus verselbstständigt hatte, ist “Boa-Língua” das Resultat einer der Stimmübungen, die Combo regelmäßig aufnimmt, um die Resultate zu analysieren. Dabei greift sie oft auf bekannte Songs in ihrer portugiesischen Muttersprache zurück. Bei den letzten Sessions dieser Art sammelten sich eine Reihe von Songs an, die gerade wegen ihres provisorischen Charmes schon fast nach einem Coveralbum klangen. Dieses musste dann nur noch um die Gesangsspuren herum produziert werden und liegt nun vor.
Dass Combo theoretisch gefällige Singer Songwriter-Alben machen könnte, das vielleicht irgendwann auch mal zum Spaß machen wird, aber bis auf weiteres nicht will, weil sie das herausfordernde, immer noch sperrige in schönen Songs mag, merkt man auch hier wieder, und so hat gerade das leicht zusammengeschustert wirkende Konnex zwischen Gesang und Soundkulisse seinen besonderen Reiz. Im “Canção do Gato”, dem Katzenlied (für Hinweise zu den Originalen den unten eingebetteten Bandcamp-Link befragen), tritt ihre Stimme über mehrere Tonspuren in Dialog mit sich selbst, was auch a capella funktioniert hätte, doch die vorwärts und rückwärts eingespielten kratzenden und schabenden Loops sorgen für die betongraue Hintergrundfärbung, die den hellen Gesang umso deutlicher exponiert.
Die schwindelerregende Orchestralsounds von “Nos Montes” mit ihren aufgeklebten Trommelwirbeln wiederum lassen das ungekünstelte des Gesangs umso mehr durchscheinen, der sich zur düsteren Pauke des hörspielartigen “Danse Macabre” geradezu trunken gibt. Beim metallenen Klappern und Hämmern von “Belgian Shepherd” und “Yarin”, aber auch beim unbestimmten Rauschen und Knistern von “Senhora dos Remédios” kommt eine dezente Spannung zum Vorschein, der den bisweilen chorartigen Gesang wie aus einer verwunschenen Anderswelt herüberwehen lässt, so wie sich beides immer gegenseitig charakterisiert.
Combo sagt, dass sie das Studio gerne als Fluchtort vor dem allgegenwärtigen Sprachgewirr der sozialen Wirklichkeit aufsucht, als Ort, der keine Antworten verlangt. In ihren dort entwickelten Songs findet sich mehr von der Flucht als vom Ziel, was “Boa-Língua” spannend macht. Ich wäre aber auch gespannt zu wissen, wie ein geplantes Síria-Album klingen würde."
[African Paper] |
2020 |
€9.00 |
|
| SISTER IODINE |
Blame |
LP |
"Sister Iodine's new album is their most beautiful and their most terrific...
Sister iodine's reason to be is one of an intense absolutist quest, almost mystical of Beauty, although Lionel Fernandez, Erik Minkkinen and Nicolas Mazet have never clearly formulated the idea, claiming their immoderate love for chaos and destruction..
Punctually of a savagery and an insanity able to humiliate 99% of the black TRVE bullshit said on the planet (except that i think it might also be one of their references - Beherit - ), Blame breaks another weigh point of violence, precision and abjection; each sound is polished in it's detail and demesure, each guitar riff is heavier than an aircraft carrier, each scream drills higher than any body, no heart would be able to tolerate it. This record is infinitely human and infinitely cruel, artwork of three lost for good souls, who have only found absolution through perdition. Like few records, Blame is a hideous terrible and absolutely sublime, without doubt the best one finished by Sister Iodine, probably the most intense record that you could listen to this year… " [Olivier Lamm / The Drone]
|
2013 |
€17.50 |
|
| SIYANIE |
Mystery of Life |
CD |
The third full-length album by the project of Sergey Ilchuk (ex-Vresnit, ex-Vetvei) and Dmitriy Shilov (Neznamo, Peal Grim, Magickal Things) has gathered materials recorded at three live gigs in 2012-2013 and completed in the studio in 2012-2015. This album is for lovers of live textured ambient. Almost 80 minutes of powerful yet tender sound submerging the listener into bright dreaming and at the same time awakening crystal clarity within. An experience of the mystery of life expressed in artistic form. The call, the revelation, the transformation, living through your own self. These canvases are woven from a manifold of acoustic and electronic threads: droning and vibrating guitars, flutes, voices, a sitar, electronic sequences, field recordings and found sounds - all this is interlaced into multidimensional structures, the depths of which can be endlessly explored with every new listening. The CD is packed in a matte 6-panel digisleeve with artwork by Sergey Ilchuk. Sound mastering performed by Sergey Bulychov (Kshatriy). The edition is limited to 300 copies. Digital copy can be purchased at bandcamp... Special collector edition - 24 copies in envelopes with 17 cards of A5 size printed on silver cardboard featuring reproductions of Sergey Ilchuk's artwork made in 2012-2016 - available for ordering directly from the author by e-mail: siyanie.art@gmail.com.
http://zhb.radionoise.ru/
|
2016 |
€12.00 |
|
| SKITLIV |
Bloodletting |
pic-10inch |
"Limited edition 10" Picture disc from SKITLIV, the project of former MAYHEM front man MANIAC.
With a line up that includes SHINING’s NIKLAS KVARFORTH, SKITLIV is a disturbed, and disturbing, blackened doom journey through the mind of this legendary Black Metal vocalist who was one of the original exponents of the genre, and is one of its most recognisable figures.
This picture disc is made extra special not only by the inclusion of “Who Will Deliver Us From Gold and Planets” by CURRENT 93 - an introductory collage destruct that was created at the request of Maniac and is dedicated to him, but also because the artwork that is used for the side containing this track is part of one of Tibet’s own paintings.
Ltd x 777 copies. No repress.
Track Listing:
A1. Current 93 - 'Who Will Deliver us From Gold & Planets?'
A2. Slow Pain Coming (Cold Spring Mix)
B1. A Valley Below (Demo Version)" [label info]
www.coldspring.co.uk
|
2010 |
€15.00 |
|
| SKULLFLOWER |
Kino I: Birthdeath |
CD |
"Finally available, after almost two years of driving Dirter & Shock to the brink of insanity -- a massive 4CD retrospective of Skullflower's early works from 1986-1990, featuring all the material previously released on Broken Flag, Shock, Majora and Forced Exposure, plus around two hours of previously-unheard music -- 14 tracks spread across the series. And this is not "out-take" dross used to fill up CDs, this is essential early Skullflower providing further insight into their uniquely twisted musical world. All material has been digitally mastered by Richard Whittaker at FX, and each CD comes in a deluxe gatefold card cover and inner sleeve with newly-unearthed artwork by Matthew. Booklets feature extensive notes and previously-unseen flyers, posters and photos.
Comprises the remastered first 12" EP, available in its entirety for the first time since 1987, plus six previously-unreleased, unheard and undreamed-of tracks. This series of CDs are a co-production between the original Shock label and Dirter." [label info]
www.dirter.co.uk
|
2013 |
€15.00 |
|
|
Kino II: Form Destroyer |
CD |
"The remastered first album by Skullflower, originally released on Broken Flag in 1989 -- the best it has ever sounded. Includes two "bonus" tracks from Shock's long out-of-print RUINS and two previously-unheard pieces. A truly monstrous disc of heavy, fucked up music.
Finally available, after almost two years of driving Dirter & Shock to the brink of insanity -- a massive 4CD retrospective of Skullflower's early works from 1986-1990, featuring all the material previously released on Broken Flag, Shock, Majora and Forced Exposure, plus around two hours of previously-unheard music -- 14 tracks spread across the series. And this is not "out-take" dross used to fill up CDs, this is essential early Skullflower providing further insight into their uniquely twisted musical world. All material has been digitally mastered by Richard Whittaker at FX, and each CD comes in a deluxe gatefold card cover and inner sleeve with newly-unearthed artwork by Matthew. Booklets feature extensive notes and previously-unseen flyers, posters and photos." [label info]
www.dirter.co.uk
|
2013 |
€15.00 |
|
| |
Kino IV: Black Sun Rising |
CD |
"Rounds up the first three 7" releases on Shock, Majora and Forced Exposure, the bonus track from The Portable Altamont (1991) compilation, plus six previously-unreleased tracks, including three from the Xaman sessions. A disc of total rock!
Finally available, after almost two years of driving Dirter & Shock to the brink of insanity -- a massive 4CD retrospective of Skullflower's early works from 1986-1990, featuring all the material previously released on Broken Flag, Shock, Majora and Forced Exposure, plus around two hours of previously-unheard music -- 14 tracks spread across the series. And this is not "out-take" dross used to fill up CDs, this is essential early Skullflower providing further insight into their uniquely twisted musical world. All material has been digitally mastered by Richard Whittaker at FX, and each CD comes in a deluxe gatefold card cover and inner sleeve with newly-unearthed artwork by Matthew. Booklets feature extensive notes and previously-unseen flyers, posters and photos." [label info]
www.dirter.co.uk
"This long in the works reissue campaign has had aQ staff and aQ customer Skullflower nerds freaking the fuck out. Four, count, em FOUR reissued rarities! On the last list, we reviewed reissues of both Skullflower's very first 12"ep Birthdeath, and their first proper full length Form Destroyer, both absolute psychedelic noise rock crushers. But that was only the beginning. Since most Skullflower fans were already super familiar with those records anyway, it was more a chance to revisit, as well as preach the gospel of early Skullflower to the uninitiated. But it's the other two reissues that might be the most thrilling. Elsewhere on this week's list, you'll find a review of Xaman, Skullflower's 1990 second album, one that due to a manufacturing defect found most copies eventually rendered unplayable, and thus essentially unheard for decades. And then there's this one, a singles comp, hopefully the first of many, gathering up three different singles, originally released on Majora, Forced Exposure and Shock, and the crazy thing is, even the Skullflower freeks here, had only ever actually heard ONE of em! So that alone made this totally essential. But in addition to those singles, there are also SIX previously unreleased tracks, as well as Skullflower's three contributions to The Portable Altamont compilation (which also featured such noisy luminaries as Coil, Current 93, Nurse With Wound, and Drunks With Guns), all of which add up to some of the filthiest, noisiest, most pummeling, tranced out, knuckle dragging, psychedelic krautrock-style dirgery you've every heard. Cuz really, for all the skree and crunch, all the noisy churn and caveman pummel, most early Skullflower jams are stretched out hypnorock sprawls, albeit constructed from crumbling superdistorted bass, wild tangles of angular melody and shards of noise guitar skree, and some surprisingly motorik drum bashing...
The only one of the three reissues that's sort of new, begins with the weird choice of starting not with any of the previously released 7" tracks, but instead, a double shot of unreleased rarities, the opener "Night Tripper" as good as anything SF was doing at the time, squalls of feedback, thick, blown out riffage, damaged drumming, yowled, buried in the mix vox, super murky and hypnotic, which leads right into "Kasso's Blues", which is loping and lumbering, a sort of detuned atonal main riff, and some garbled vox wrapped around tribal beats make it sound like some super obscure, super wasted Butthole Surfers jam. The aforementioned single, the only one we HAD heard, is the "Rift / Avalanche" single on Majora, and it's some of our favorite Skullflower, smoldering, brooding, dirgey, but sorta dreamy, a locked minimal rhythm, buried vocals, and then long arced tones, super mesmerizing and so epic, the 'flipside' though is a wild nois drenched heavy psych freakout that looks forward to groups like Rusted Shut. The Forced Exposure single delivers one part noisy Dead C style plod rock freakout, and one part billowing psychedelic space out, while the Shock single is super swaggery and dirgey, the recording muted and murky, total cave like rehearsal style sound, but it suits them, the second half getting downright rocking.
After that, there's the awesomely titled "Bo Diddley's Shitpump" , which might be the most bloozy of the bunch, as is hinted at by the title, but it's more like Pussy Galore style blues, tangled up with some Swans and some Hawkwind, and with a hint of mutated AmRep style bash and howl. "Against Everything (A Guide To Canine Foreskin Retraction)" sounds like a Crash Worship record on Shock, wild dense tribal drumming, wreathed in a cloud of flanged shimmer, wah wah splatter and spidery tendrils of tangled guitar melody, and girded by some strange industrial whirring buried in the mix. "March Of The Lemmings" is all garage blooz swagger, with echo drenched vocals and a thick chugging main riff, even some bleating horns, everything dubbed to high heaven, and then wrapped in a spider web of noise guitar skree, and finally closer "The Punk Rock Song" is about as punky OR poppy as SF get, but they manage to fuck it all up and douse it in just enough noise to keep it interesting...
Holy shit, so much amazing, twisted, noisy sonic genius. As far as we're concerned all four of these Skullflower reissues should have /could have been Records Of The Week, but forced to pick one, t had to be Black Sun Rising. But seriously, who are we fooling, you NEED all four!!!
Nice packaging too, mini gatefolds, printed inner sleeves, and a booklet with reproductions of the original 7" covers." [Aquarius Records] |
2013 |
€15.00 |
|
| SLEEP RESEARCH FACILITY/LLYN Y CWN |
Sargo / Posidonia |
LP |
The ultimate deep listening experience from two masters of dark ambient. A slow descent into the blackened watery abyss, where light cannot reach.
The first release from Sleep Research Facility since 2012\'s \"Stealth\" (Cold Spring) is inspired by the deep sea ocean floor. The Canadian-based composer explores notions of awareness and perception in the sub/unconscious listener. Focusing primarily on sound bereft of rhythm based energies, SRF provides an environments wherein the music adds texture to the silence. Using form without structure and concentrating on space as opposed to narrative, SRF entertains the idea that music can reside in the very fabric of sound itself. The brand new material here was created specifically for this split release.
Taking inspiration from the beautiful, but often harsh landscapes and environments of his home on Anglesey, North Wales, Llyn Y Cwn has built on the nautical theme of \"Du Y Moroedd\". These tracks are based on field recordings relating to the ocean, and could be seen as a companion piece to the album. \'Dale Dawn\' features a recording of the dawn chorus made from the floating pontoon at Dale, Pembrokeshire. \'Pebble\' includes the sound of waves crashing on a Dorset cobble beach, thousands of rocks colliding in chorus. \'Doppler Current Profiler\' is based on the sound of an ADCP, an acoustic sonar instrument used to measure water currents - a 600Khz ping slowed to a heartbeat.
Limited Edition LP on audiophile black vinyl for best sound presentation. CD in mini-LP sleeve, replicating the vinyl design. The artwork features a separate front cover design with individual art for each side, making this a true split release.
https://coldspring.bandcamp.com/album/sargo-posidonia-csr317lp
|
2023 |
€23.50 |
|
| SMALL CRUEL PARTY |
Do you Believe in a Pencil |
CD |
Reissue of the first Small Cruel Party CD with different artwork done by Abo (Mark Schomburg/Petry Supply).
Listenable here : https://fernsrecordings.bandcamp.com/album/do-you-believe-in-a-pencil-2
|
2022 |
€13.00 |
|
| SOLA TRANSLATIO |
Enigma |
CD |
SOLA TRANSLATIO ist das Gemeinschaftsprojekt von ALIO DIE und OPIUM und dies ist das dritte Album. Das besondere an ENIGMA liegt in der Verwendung mysteriöser konkreter Field Recordings, die die instrumentell-fliessenden Sounds umgarnen und umranden... viele handgespielte Instrumente wurden aufgenommen, wie Zither & Flöten, Pianotunes…zusammen mit der Artwork hat das einen mystischen Touch und verbreitet eine besinnliche, sehr unaufdringliche Stimmung…is it the mind-space or the space-mind??
“The third awaited cd by Opium and Alio Die is finally out! rich of ambient textures that bring to lose themselves into different labyrinth's peregrinations, and to bathe the borders in flowing abyss.. eight imaginary landscapes wavering between the earth and the cosmos, sometimes returning on the dark atmosphere of the first album, but with a little acoustic element more clear..” [label info]
|
2006 |
€13.50 |
|
| SORRY FOR LAUGHING |
same |
CD |
The Sorry For Laughing album was released in 1986 on cassette only. It is a project by Gordon H. Whitlow who is also a member of legendary US avantgarde collective Biota, formerly Mnemonists or Mnemonist Orchestra. Whitlow composed and recorded the album all by himself.The accompanying artwork for the original cassette release was made by several members of Mnemonists, the visual department of Biota. Sorry For Laughing has a different sound though. It is more varied, there are elements of post punk as well as elements of contemporary classical music. Somehow though you can hear Biota in there as well. Les Disques du Crepuscule is in the air. After all, the idea was to make a Christmas album. Whitlow says that when he lived in Colorado and worked in a bakery a homeless drifter used to come to the shop and buy the same stuff every day. With Christmas approaching, he interviewed the guy and got his Biota mates involved. Piano parts were recorded at a wealthy house-sit in Denver, others at Mulberry Street Studio, home of Biota's Bill Sharp who also co-produced the album. A most interesting album that's been lost for a long time. We are glad to bring it back into the world, remastered by Martin Bowes of Attrition. Gordon Whitlow says about it: "This is a solo musical project recorded in the winter of 1985-86 and self-released on cassette in a very small edition in 1986; this was followed by a modest limited edition cassette release on the ADN label in Italy in 1989. It has never been released to the public on any medium other than cassette. The compositions stem from my beginning days with the avant-garde recording ensemble Biota, shortly after completion of the Bellowing Room LP. The recordings feature a handful of Biota players contributing to compositions that fall outside the group’s activities. Vienna-based label KlangGalerie has expressed interest in reissuing the project as a CD. As you will hear from the initial spoken word (interview) passages, the project has a quasi-Christmas theme, but it is not overt in that sense. Rather, it is a collection of instrumentals whose moods and atmosphere are founded on largely repetitive melodic passages accompanied by “found” atonal elements. It is intended to be minimalistic with sparse arrangement (and on one track, some distant vocalization), aiming for a sense of nostalgia, isolation/loneliness, and childlike muse
https://www.klanggalerie.com/gg289
|
2019 |
€15.00 |
|
| SOULCRUSH |
same |
CD |
Neues Projekt vom ehemaligen VEDISNI, der hier massivste amorphe Dunkelheit erschafft, monumental dark drone music mit Effekten versehen zwischendurch, hier ist nicht der Hauch eines Lichtschimmers zu sehen..
“CD will be released on Halloween, October 31st through DFR in a special DVD case for the first 1000 copies. Textural guitar sounds for a bleak and unforgiving world. Multi layered and almost suffocating in feeling from this ex-member of Vedisni. I've heard a rumor Cordell of Monstrare had something to do with the artwork....” [press-release]
|
2001 |
€8.00 |
|
| SOUND |
Screaming Zenith |
do-LP |
Wieder “weird stuff” auf beta-lactam: ein US-Projekt mit düster-schwülstigen, elektronisch-psychedelischen, oder verspielt-experimentellen Stücken (bei dem auch Viola und Sitar zum Einsatz kommen), gratwandern sie zwischen Irrsinn und Ernst bzw. lassen den Hörer im unklaren, ob er das nun gut finden soll oder nicht....und das sexuell-dadaesk-explizite Cover passt zu der Musik eigentlich überhaupt nicht. Das ganze im Vollfarbklappcover, Seite 4 ist mit Artwork beklebt, viele inserts.
“Cacophony plus catastrophe divided by calliope minus colostomy=crepe-noizette! Sound sound off like a delicious blend of fresh When and finely ground Aphex Twin mixed with just a dash of Pascal Comelade drool. 13 tracks of dark dementia sewn together as a quilt of mini symphonic diversions, embroidered with bits and bytes and twisted sub rhythms and the occasional driving breakbeat. Whimsical and dada-esque with solid musical foundations, this record can also stand as rightful heir to the likes of Didier Bocquet and early Ian Boddy in its sequenced charms. And let's not forget our Frog forebears Albert Marcoeur and Etron Fou Leloublan for that certain "je ne sais quoi" factor. Ah, And as if these were not enticements enough, the gorgeous full-colour artwork may just win you some free counceling sessions should it be seen in your possession by an upright citizen type. A capricious and captivating compendium that sustains the continued use of "C" descriptor words containing "P's" to describe it, saving of course for "crap," which this is never, though you may be compelled to do so when you see and hear how beautiful and odd this record is and becomes. Please to file in experimental...barring that, I should think that rock or electronic would be a fair second, or electronica just gone wrong! If you work at Tower, just steal it and order more later!!!!!!!! “ [press-release]
www.blrrecords.com |
2002 |
€15.00 |
|
| 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 |
|
| |
No. 10 |
mag |
Massive 84 pages B5 size issue finally out in February 2018! Long awaited issue covers:
01 Cover artwork by: Paul Kerin
02 Editorial by Mikko A
04 Wince by: Mikko A
12 Le Syndicat Faction Vivante by: Cyril Adam
16 S.T.A.B. Electronics by: Mikko A
22 Robert Turman by: Stephen Petrus
26 Torba by: Manuel Pereira
30 Mutant Videos by: Frank Cordry
32 T.O.M.B. by: Arvo Zylo
40 Grim by: Takahiko Yokoyama
42 MAAAA by: Mikko A
46 New Forces label by: J. Peterson
52 Storm Bugs by: Cooper Bowman
58 Dead Tech by: Cooper Bowman
60 The Essentials: Hal Hutchinson
64 The Essentials: Human Larvae
66 The Essentials: Richard Stevenson
70 The Essentials: Kristian Olsson
78 Scum Core by: Frank Cordry
80 Artwork by: Paul Kerin
|
2018 |
€10.00 |
|
| SPECIMENS |
Sculptures |
LP |
"UK electronic & ambient experimentalist Specimens presents his debut album ‘Sculptures’. Featuring artwork by the award winning Australian artist Kieran Ingram and mastered by Room 40 label boss and cornerstone of the Drone/Ambient music world Lawrence English. ‘Sculptures’ is a delicately and painstaking put together debut album, it follows up from releases on A Giant Fern, Amsterdam based Shimmering Moods Records & the collaborative Specimens x Daniel Wiesmayr release ‘Water & Concrete’ on London’s Tenderly Surrender, the title track of which soundtracked a short from film maker & director Sophie Littman & went on to get over 20,000 views in it’s Nowness premiere.
Wearing his influences on his sleeve & with a nod to past and present noise pioneers such as Throbbing Gristle, Leyland Kirby, K.Leimer and Ben Frost, the record pans between a dream-like fog on the tracks "Cerulean Forest” & “French Morning” and cold industrial chops on “A Marble Hallway”.
Specimens said of this release “I didn’t want to make a record intentionally difficult to listen to, but I wanted uncomfortable moments, It was important for me to try and make the record sound as human as possible and in some places distinclty live"
The lighter more gentle moments hold together the records more jagged edges, occasionally leaning towards a more classical feel, in a way the likes of William Basinski & Sean McCann display with regular expertise, this is best illustrated in the tracks “Piano Loops” & “VI.VI.MMXV”. Samples of Sudanese wrestling & Tuvan Throat Singing give the record the “human” feel Specimens describes and adds a charm which prevents the record from ever feeling too slick.
Over the past 18 months Specimens has been collaborating and releasing singles and EPs at a pace that hints at an artist never fully satisfied with sitting on a project, in this process he has undeniably broadened his creative sphere whilst also honing in on a sound unmistakably his own, the a result is a record distinctly individual and unapologetically enjoyable to engage with." [label info]
|
2016 |
€18.00 |
|
| |
In the Dust of Idols |
LP |
‘In The Dust Of Idols’ is an album exploring mortality, Existentialism & the dread one can feel in the face of an apparently meaningless world. The journey you embark on when trying to create meaning where there is perhaps none. These initial senses of dread can be brought about by the insignificance you feel in the face of greatness (or perceived greatness), where others have seemingly found meaning and purpose in the face of your own wavering path. Often these can be expressed in grandness and can become historically significant human feats, the fact that they have stood the test of time can become in itself overwhelming when reflecting on your own journey. Whilst these moments in time may hold no specific meaning to you - despite their impressive nature - you are driven into senseless awe.
‘In The Dust Of Idols’ ties in this sense of wonderment coupled with the overarching dread you feel as you contemplate your own existence, where you fit into the significance of society and as Ruth Tallman quotes “the search for answers in an answerless world”.
“I wanted to create something dense & heavy. When you listen through, it makes you feel like it has the weight of time stitched into it” explains Ives. As well as expanding the range of instrumentation used on this, his second album, Ives also enlisted the talents of Cellist Charlotte de Burgh-Holder and experimentalist Joe Summers on the tracks “The Unread Library” and “Twisted Necks” which further adds to the dynamic depth and range on this record.
“Clarity was not my main objective, like an old piece of furniture covered in dust, you can tell what it is but the details are obscured, my ambition was to create a dense sonic backdrop, a representation of the confusion and insecurities we all can feel when questioning our existence - you know there should be answers but you can’t quite make out what they are”. It’s not all dark though and moments of optimism and cracks of light pepper the record giving enough hope to the listener to pursue questioning the unanswerable.
Accompanying the release of the record is a short film set to music from the album, produced and shot by photographer & director Lucie Rox. The film is a visual expression and representation of identity and the many ways this is challenged, perceived and adopted. Whilst taking forward the concepts explored throughout the album, the film looks to reduce the great vastness of confusion and self doubt put forward on the record & focus instead on a more intimate and personal perspective laid bare and shared by both director Lucie Rox & Specimens.
With a heavy focus on race & heritage of which both Specimens & Lucie are mixed - Caribbean & British / African & French respectively - the objective of the film is to show one of the many angles where an individual's search for meaning & identity can be expressed.
‘In The Dust Of Idols’ is released on November 30th 2018 as an international collaboration between SVS and First Terrace Records. Pressed on beautiful white & blue splattered vinyl with artwork from Australian painter Kieran Ingram and mastered by the legendary Lawrence English.
https://specimensmusic.bandcamp.com/album/in-the-dust-of-idols
|
2018 |
€20.00 |
|
| SPHERULEUS |
The late Surge of Gold |
CD-R |
"The Late Surge of Gold is the work of British sound designer Harry Towell, under his Spheruleus moniker. Previous releases have graced labels such as Hibernate, Home Normal and Time Released Sound and collaborations that
have seen him work with the likes of Pleq and Ekca Liena. Harry also runs the Audio Gourmet netlabel and its new sister label Tessellate Recordings, which specialises in limited edition CDr releases. The Late Surge of Gold
was composed specifically for Analogpath, recorded during last year’s Indian Summer in the UK, a phenomenon in which the sun shines deep into autumn. This is an album which documents warm and hazy summer, the bright
sunshine that extends through autumn before eventually descending into the cold of winter. The sounds are a typical example of Spheruleus’ work, pooling together fragile acoustic recordings from the artist’s instrument
collection. They are joined by field recordings, static and subtle drones which amount to a lo-fi pastoral tale, unfolding the full spectrum of seasonal colours from the warmth of yellow and orange, fading slowly to
grey and darkness. Artwork by Johan Söderberg, except from the image which features a building. This was taken by Harry Towell on holiday in the Peak District at the height of the Indian Summer." [label info]
http://analogpath.com/main/ |
2012 |
€10.00 |
|
| SPIRACLE |
Lumen |
mCD-R |
Ein grossartiger one-tracker mit ultra-sonorem Drone von HITOSHI KOJOs Projekt, dieser Breitwand-KlangStrom schillert in tausend akustischen Farben!
"defined by the artist as "around 19 minutes of harmonic drone piece, like warm mercurial metallic texture slowly flow through capillary vessels". we couldn't say better! full-colour printed 3" cd-r with artwork by hitoshi kojo." [label info]
"Spiracle is the big unknown here, being the project of Japanese Hitoshi Kojo, who now lives in Switzerland, were he has worked with Micheal Northam (as Kodama), Jgrzinich, Maurizio Bianchi, Yannick Dauby and Jonathan Coleclough, but he puts on his Spiracle hat when doing something solo. I am not sure what kind of sound sources he uses for his 'Lumen' piece, but I'm sure it's something created out of metal. Spiracle brings back the old Organum sound of 'In Extremis', which is a landmark in this field, in a chilling drone piece. Quite a nice work, this one." [FdW / Vital Weekly]
label: www.taalem.com
|
2007 |
€5.00 |
|
| |
Evestrum |
7inch |
"SPIRACLE is the original project of Japanese artist HITOSHI KOJO (currently residing in Switzerland), known to some for his label OCTPIA & some solo-releases (recently also part of JÜPPALA KÄÄPIÖ).
On this, the first SPIRACLE vinyl release, two pieces of sublime Drone-Muzak are placed, mesmerizing and mind-expanding sonic clouds. The two tracks EVESTRUM and EXUSIAI are "focused on the physicality and the osmosis of the sound" as HITOSHI describes it. The acoustic basis-material comes from a glass harp, resonated trumpets, metal sheets & electronics. A kind of sonographical report of a process that a "subtle spiritual existence merges into a physical body and becomes tangible through the senses." The unbelievable cover-artwork as an object is paradoxically representing an invisible world.
Filed under: ASTRAL BODY DRONES
TRANSPARENT VINYL, SILVER LABELS. EXTREME HANDMADE (& COMPLETELY WHITE) COVER USING COTTON WOOL, GAUZE BANDAGE, THREAD & SPECIAL PAPER. SILVER PRINTED INLAY.
THE FINAL STATEMENT OF DRONE RECORDS AND THE LAST RELEASE OF SPIRACLE!" [label info]
"The final one is by Hitoshi Kojo, also known as Spiracle. He's from Japan, but currently lives in Switzerland and who has had various releases before. For this 7" (his first vinyl actually) he uses a variety of acoustic objects, such as a glass harp, resonating trumpets and metal sheets, as well as electronics. The sound here reminded me of the very first Organum record, 'In Extremis'. Slowed down metal scraping, which occasionally folds into electronic overtones and makes a very beautiful vibrating and resonating sound. Like the Wyrm 7", this is not exactly the type of drone music that lulls the listener into a deep sleep, but has a great unsettling character. An excellent work, topped with a great handmade, cloth cover. And apparently this is also the final record by Spiracle. That's two very sad occasions, I should think." [FdW/Vital Weekly]
|
2010 |
€7.00 |
|
| SPK (S.P.K.) |
Zamia Lehmanni (Songs of Byzantine Flowers) |
LP |
Originally released by Side Effects in 1986, “Zamia Lehmanni” was the third (and final) core SPK album and was Graeme Revell’s first truly solo project. He was in a period of transition, somewhere between the industrial noise of the early years and his later award-winning soundtrack work. On the day before this was first released, this style of music, now ubiquitous (especially in soundtracks), did not exist.
After “Information Overload Unit” cleared a space for subsequent explorations, and the environmental percussion and anchored mutilated sound collages of “Leichenschrei”, the “body without organs” was fully eviscerated. Graeme felt ‘industrial music’ was becoming ossified and needed to be taken into radically new territories: ‘post-industrial’.
The track “In Flagrante Delicto” (mastered as originally intended here) was later used by Revell for his work on the soundtrack for the 1989 film “Dead Calm”, which won him Best Original Score from the Australian Film Institute.
Unavailable in any format since Mute’s 1992 CD edition, we now present this landmark album on newly remastered CD, and on vinyl for the first time since 1986. Approved by Graeme Revell, this release comes with new artwork by Abby Helasdottir and is remastered by Martin Bowes (The Cage).
LP on sumptuous 180gm black or limited edition gold vinyl, presented in a 350gsm gatefold sleeve.
CD in a 6-panel digipak. The track “The Doctrine Of Eternal Ice” appears on CD only, but is included on the digital download for vinyl.
Both formats feature new liner notes from Graeme Revell, 2019.
https://coldspring.bandcamp.com/album/zamia-lehmanni-songs-of-byzantine-flowers-csr274cd-lp
|
2019 |
€23.50 |
|
| SPOONBENDER 1.1.1. |
Stereo Telepathy Academy |
CD |
Die Zahl 3, Synchronizität, Telepathie, David Cronenberg, „Third Mind“-Technik: San Francisco’s SPOONBENDER 1.1.1 ist eher ein Projekt zur Erforschung parapsychischer Phänomene als eine reine Musikgruppe.
Hier enthalten ein 40 minütiger one-tracker mit elektronischen Sounds & Film-Text-Schnipseln, der ein Experiment dokumentiert, das auf Burroughs / Gysins – Third Mind-Technik basiert, wo zwei Filmquellen miteinander verbunden werden, die eigentlich nichts miteinander zu tun haben, um synchronizitäre Verbindungen herzustellen. Nummerierte Auflage von 333 Stück, und bereits weg beim Label !
“Spoonbender 1.1.1’s Stereo Telepathy Academy is fucking mental. And essential. Truly alien, Truly progressive, and likely to be misunderstood by all but the committed. A true classic on par with COILANS and NWW’s Soliloquy For Lilith. I’ve listened to it obsessively for weeks, and i’m afraid to go near this whilst on drugs! DEEP AND ESSENTIAL!..” [UKDave, KFJC Reviews]
“In 1913, Marcel Duchamp dropped three pieces of string, each a meter long, from a height equal to their length. He then cut shapes into pieces of wood in order to document the rumpled line of his three fallen strings. In essence, Duchamp conceived his 3 Standard Stoppages as a preservation of chance, which he viewed as a means to combat logical reality. In addition to Duchamp's self-proclaimed antipathy to the rational world, he was quite particular in how he contextualized and executed his ideas through readymade objects, chance operations, and his notorious psycho-sexually charged dioramas. It is this dualism between the chance operation and an absolute intellectual/technical control which brings us to the present age, and to Spoonbender 1.1.1 in particular, where the acceptance and integration of opposites results in the 3rd option: everything.
The San Francisco-based Spoonbender 1.1.1 outlines itself as the 'tele-ambient dream self' of the critically-acclaimed, 'populist avant-tronics and media group' I Am Spoonbender. It is important to note that Spoonbender 1.1.1 declares itself not a side project of I Am Spoonbender, but a psychologically immersive extension of the central IAS concept. Both projects uncover the hidden connections that lie beneath the surface of reality by delving into the arenas of paranormal research - the exploration of the occult significance surrounding the number 3 and its strange laws, for example - but the intended outcomes for these concepts are decidedly different. For Stereo Telepathy Academy, Spoonbender 1.1.1 exercises psychic community through the architecture of the soundtrack.
At the beginning of the first transmission of Stereo Telepathy Academy on November 3rd, 2004 - a performance where the group supported Genesis P-Orridge's PTV3 - 1.1.1's Dustin Donaldson announced that "tonight's Spoonbender 1.1.1 show is governed by chance operations and the 'third mind' technique. Spoken text was taken from one film, overlayed onto images from another film, and the score was composed while viewing a third (and secret) film source. The synchronistic results appear to be intentional." Such was the strategy of Duchamp's aforementioned piece nearly a century ago; but Spoonbender 1.1.1's collision of artforms also employs the technique found in the William S.
Burroughs / Brion Gyson classic The Third Mind. As the images of David Cronenberg's rarely seen film Crimes Of The Future flickered, Spoonbender 1.1.1 radiated an inverted telekinetic minimalism of undulating tones supporting the third piece of the puzzle: spoken text from Cronenberg's Stereo, a faux-documentary detailing a surgical procedure for the advancement of telepathic communication. The result is a sort of Wizard Of Oz / Dark Side Of The Moon for the mimetic engineering mindset.
The same principles and elements apply for Stereo Telepathy Academy, the group's long-awaited debut studio recording (1.1.1 has existed solely as a live group for years). This marks the second of three editions to be released. The first was an edition of 111, documenting the aforementioned live performance; the second is this edition of 333, sporting handsomely letterpressed artwork; the third and final edition will be a unique art piece in an edition of a mere 3 copies.” [label notes]
"Edition 2 (studio version) of the Spoonbender 1.1.1 Stereo Telepathy Academy trilogy...
Simply put, this is a weird-as-hell, warped, late night, difficult-listening 'trip' for all you aQers looking for truly strange atmospheres... Okay, first things first; Spoonbender 1.1.1 is not a side-project of I Am Spoonbender. The duo of Dustin Donaldson and Cup consider Spoonbender 1.1.1 to be a self-contained project that ventures outside the 'populist avant-tronics' of I Am Spoonbender into the realms of sidereal soundtrack music, the transmission of ideas through subliminal means, manifestations of 'third mind' techniques, and the non-logic of chance operations. Not so different on paper, but put another way: there are no drums, singing, or 'songs' in the 1.1.1 project. The material for Stereo Telepathy Academy was debuted during a live performance in which Spoonbender 1.1.1 performed with (appropriately enough) Psychic TV; however, for the second edition of Stereo Telepathy Academy, Spoonbender 1.1.1 recomposed all of the material in the studio -- expanding and elaborating on their live performance, and making for a distinctly new and different listening experience that stand on its own with or without the visual accompaniment. That said, as in the first edition, Stereo Telepathy Academy features "text taken from one film, overlaid on images from another, and the audio score was written around a different, third film... the results appear to be intentional" for a sort of 'Wizard Of Oz/Dark Side Of The Moon' for telekinetics.
The J.G. Ballard-esque text was taken from David Cronenberg's 1969 student film 'Stereo', a faux-documentary detailing the work of a Dr. Luther Stringfellow, which concerns surgical procedures for the advancement of telepathic communication, while the visuals came from 'Crimes Of The Future' (another Cronenberg film, which transpires in an urban dystopia populated by pedophiles and oozing victims from a female-eliminating cosmetics related catastrophe). As creepy and sterile as the images were, we have to say that its Canadian-ness was positively charming, somehow. In their score, Spoonbender 1.1.1 lunges ominously forward with an otherworldly radiance of slow motion electronic pulses and melodies that retain an even darker hue than that of Klaus Schulze, Coil (e.g. Coilans / Time Machines), and Alan Splet, who are probably Spoonbender 1.1.1's closest sonic neighbors. Given the nature of their intense, masterfully detailed sea of electric sound, Spoonbender 1.1.1 hedged their bets that Cronenberg's pseudo-scientific spoken text would situate nicely against their audio. And indeed, this freakish document of prepared-chance context, atmosphere and appropriation works exceptionally well.
PLEASE NOTE: In keeping with the numerological-binding-of-3 theme, there will be 3 released versions of Stereo Telepathy Academy, all with different packaging. The first version arrived as a cd-r edition of 111 copies sporting a white glove as an allusion to 'Crimes Of The Future' (now out of print). This is the second edition, a proper disc that comes with letterpressed artwork in an edition of 333. The final edition will be in an edition of only 3 copies!" [Aquarius Records]
|
2006 |
€13.00 |
|
| SRMEIXNER / BAND OF PAIN |
Texture. Montage. Sequence / Tripping in Q |
7inch |
Filigrane Split-Single des CONTRASTATE Mitglieds (der summende Drones & subliminale Harmonien mit einer Reihe von feinen Natur field recordings verbindet), und BAND OF PAIN (ruhige Synths werden behutsam bearbeitet) auf weissem Vinyl.
"A split single release on white vinyl, limited to 250, with black and white artwork printed on 120 gram tracing paper from these two well known and respected projects. This is a cinematic and inspiring musical journey which combines beautiful ambience interspersed with haunting atmospheres with each artist creating a distinctive, yet complimentary, electro-acoustic soundscape." [label info]
"This little beast I played at least ten times before even starting to think about the review. Was it that great? Well, no, not because of that, but rather the format of a 7" with 'difficult' music is hard to capture. Both SRMeixner and Band Of Pain are known for a long time inside the world of experimental music. On side A we fin Meixner, former member of Contrastate, with a piece that involves sea washes and processed bird/insect/frog sounds, along with sparse music (piano? guitar?), heavily layered. Quite an intimate piece of music.
Steve Pittis, also known as Band Of Pain, on the other side, has a likewise intimate piece of music. Sparse, drone like sounds and tape/vinyl-manipulation interjecting the music. Quite a musique concrete like piece, one that we haven't seen him doing before. More peaceful than before. For both of these pieces goes, that they are too short to give a solid opinion about, and both cry for more. Great, but way too short." [FdW / Vital Weekly]
|
2007 |
€7.00 |
|
| STADLMEIER, SASCHA / EMERGE / ANJA KREYSING |
same |
MC |
https://immerge.bandcamp.com/album/stadlmeier-kreysing-emerge
Music - Anja Kreysing + Sascha Stadlmeier
Recording - Anja Kreysing
Master - EMERGE
Foto - Tim Greifelt
Artwork + Print - superkolor.de
Thanks to Tim, Guiguisuisui, Georg, Trstn, Tim + Julius.
released by Grisaille
grisaille.bandcamp.com
-----
more music by Kreysing/Stadlmeier:
emerge.bandcamp.com/album/re-encypher
|
2019 |
€8.00 |
|
| STUZHA |
Siberian Sketches |
CD |
"Dark Ambient. Ksenza records present a remastered version of Stuzha's first album - Siberian Sketches. Some of the tracks have been modified, bass guitar has been added and some general sound remastering. Three new tracks are now also added to the album. According to the composer, the reissued album feels more complete and with significantly improved sound quality. This album is inspired by Autumn and includes genuine nocturnal and daytime field recordings. The excellent artwork completes the musical autumnal impression." [label info] |
2016 |
€13.00 |
|
| 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 |
|
| SUDARIA |
The Syncretic Labyrinth |
MC |
"Sudaria opens up the gates of (un)reality to unveil the true shapes behind the mirror of the illusory self; 9 mantras to break the illusion, 9 keys to open the holographic seals of Maya.
«Following in somnambulism the invertebrate steps of a primary Art. Drowned into the ascetic syncretism of silence and noise. The pulse of necro-mechanical cannibalism. Rising beyond Catharsis in ransfiguration; devouring the corpse of the illusory self. 9 Keys to the Gate; 9 mantras to break the holographic seals of Maya. Dressed with the shrouds of Malediction. The Immortal Binary Clock.»
Samples on «Ghastly Eaves» from Arvo Pärt’s Missa Syllabica
—All Musick and artwork by Miguel Souto, MMXVI.
miguelsouto.bandcamp.com
sudaria.bandcamp.com"
www.attenuationcircuit.de
"In a binary existence, the idea of quantum suicide can be engaged in order to convince us of our own immortality – we exist only in a world in which we haven’t died. All other universes, however, contain a rotting corpse that looks uncannily similar to ourselves. Unfortunately, not all life and death scenarios are quite so black and white and it is this nagging knowledge that could have led Miguel Souto to protect himself with these nine sonic mantras.
The Syncretic Labyrinth is a dark, contemplative and often hellish joint release from the German Attenuation Circuit and Spanish Sphingidae labels. Ghostly winds and strained, shrieking guitars set the tone on opening track Veils of the Syncretic Maya before a low drone edges in, paving the way for a frightening chugging as if feral pistons were rampaging through rain-drizzled streets. Kapala then pours its gloopy way into the skull of its audience. A thick, blackened bass rumble squeezes into your cranial space as unrelenting, reverb-chained, metallic thuds pound out in the approaching distance. Voices gasp in reverse like a solemn message escaping from the Black Lodge before being replaced by a pained guitar painting the aural landscape. This shifts from solitary notes to driving chords, whipping up a growing sense of tireless toiling – the slog of existence peppered with a glimmering light through wretched gloom.
The labyrinthine cacophony (of which Borges would be proud) that Sudaria has formed sidles easily from tormented industrial clangs, through leaden techno for sleepwalkers, and into a stained dark ambience via the tectonic-plate-bothering plod of some inconceivable colossus. A gentle sea of consciousness is sporadically cleft apart by softly comforting snippets of travelling trams, trains, and trucks, grounding this in the gritty present. A bluster slips by. Lofty ideas can be born in these waters but heads must stay out of clouds. A melancholy piano desperately collapses and Arvo Pärt’s choral chants lie under a canopy of drones. These paranoid yet hypnotic soundscapes give the final moments of this record an ethereal and phantasmagorical quality."
mithratemplezine.com/sudaria-the-syncretic-labyrinth-album-2017/
|
2017 |
€8.00 |
|
| SUDDEN INFANT |
Things that happened |
LP |
"We are proud to present the new LP by the very known Sudden Infant (Joke Lanz)!
"Joke Lanz aka Sudden Infant creates an unique blend of physical sound-poetry and dadaistic vocals, using contact microphones, prerecorded soundloops and noises. The result is abrupt Musique Concrète juxtapositions of spasmodic gibbering and a battery of disorienting electronics. It's a fragmented field of sound that comes to its own autonomy!" [www.suddeninfant.com]
Two great live recordings which shows more the competence of Joke Lanz then the most studio recordings!
Edition of 300 copies on coloured vinyl.
3 colours are availabel: blue, red, green!
A small part of the edition comes 2-coloured: blue/red or red/green.
Artwork by St.Martin of Margitt Holzt." [label info]
www.reduktivemusiken.com
|
2011 |
€16.50 |
|
| SUDDEN INFANT / BILL KOULIGAS |
split |
CD-R |
"Probably one of the frenziest & craziest Sudden Infant' recordings. Recorded live at the Gluerooms, London, on may the 20th, 2004, stands for me as one of joke lanz most intense and unique sudden infant recordings I came across to this day besides his already classic ones! sharing this disc w-his recent "partner in crime' Bill Kouligas (those who caught up w-the recent dec 06, uk tour know what am talking about), also member of the bizarre greek duo of family battle snake, who offers us 5 studio tracks recorded between aug-sept 06 of pure lo-fi (ocasionally monolithic) bizarro noise!!! Soundscapes to set up Absurd's central in flames each time cdr plays on the sterero!!!! Comes in a beautiful package w-artwork-design by Bill Kouligas! PLAY IT LOUD!!!" (label info)
|
2007 |
€8.00 |
|
| SUNN O))) |
Kannon |
CD |
"Kannon is an album which was composed in the aftershadow of SUNN O)))’s most recent successes in immersive collaboration (the group worked with Scott Walker on Soused, Ulver on Terrestrials in 2013 and 2014) and also from the broad and influential wake of their epitimous Monolith’s & Dimensions . Kannon emerged both independently as a conceptual entity and with roots in the legacies of those projects, yet was fully realised years later, in 2015. The album is 36 minutes in length and consists of three pieces of a triadic whole : Kannon 1, 2 and 3.
The album celebrates many SUNN O))) traditions ; Kannon was recorded and mixed with SUNN O)))’s close colleague and coproducer Randall Dunn in Seattle, in Studio Litho, Aleph and Avast!; and the LP includes performances by long term allies and collaborators Attila Csihar, Oren Ambarchi, Rex Ritter, Steve Moore and others. And at the core the composition centers around the dynamic and intense guitar and bass interplay of SUNN O)))’s founders : Stephen O’Malley & Greg Anderson.
It’s possibly the most figurative album SUNN O))) has created, which is unusual as they usually dwell in layers of abstraction and subjectivity. On the other hand the album is the most outright “metal” in years, drawing personal associations and memories of cherished albums like Panzerfaust and Twilight of the Gods again to the forefront of consciousness. At the third time it is very close to the cyclical character of mantra which the band has evolved into as a living creature, the enormity of intense sensate detail and manifestation of the live in concert face of SUNN O))), the organism that has flourished, metamorphosed and transcended tremendously over the past ten years.
The literal representation of Kannon is as an aspect of Buddha: specifically “goddess of mercy” or “Perceiving the Sounds (or Cries) of the World”. She is also sometimes commonly known as the Guanyin Bodhisattva (Chinese: 觀音菩薩) amongst a plurality of other forms. There is a rich lineage behind this idea tracing back through many asian belief systems, with as many names and cultural personifications of the idea.
SUNN O))) commissioned critical theorist Aliza Shvartz to write a text / liner notes around these ideas and topics. She also explores the relations and perceptions to their approach to these ideas via the metonym of music and SUNN O)))’s place/approach within the framework of music and metal overall.
SUNN O))) also commissioned Swiss designer/artist Angela LaFont Bollinger to create the cover artwork, an abstracted sculpture of vision of Kannon, and the French photographer Estelle Hanania to capture portraits of the core trio (Csihar, Anderson, O’Malley) in the impressive and obscurant Emanuel Vingeland mausoleum in Oslo.
The LP is packaged in immaculate tip on gatefold sleeve by our long time comrades Stoughton Printing, and pressed at Cascade in Portland, Oregon. CD, download and coloured vinyl versions are also available.
– Stephen O’Malley & Greg Anderson / SUNN O))), 11 September 2015" [label info]
credits:
Released December 4th 2015
Attila Csihar - Vocals
Stephen O’Malley - Guitar
Greg Anderson - Guitar, Bass Guitar
Oren Ambarchi - Guitar, Oscillator (K1,K2)
Randall Dunn - Korg MS 20 (K1, K2)
Rex Ritter - Moog (K2)
Brad Mowen - Concert Bass Drum (K2)
Steve Moore - Juno 106 (K2)
Conch trio : Dempster, Priester, Moore
Recorded at studio Litho, Avast! and Aleph, Seattle by Randall Dunn
Mixed at Avast! by Randall Dunn
Assistant recording engineer (Litho) : Mell Dettmer
Mastered by Jason Ward at CMS
Kannon 1, 2, 3 written & arranged by SUNN O)))
Lyrics by Attila Csihar
Produced by SUNN O))) with Randall Dunn
SUNN O))) art direction : Stephen O’Malley
Cover and typographic design by Allison Lafont Bollinger
Text by Aliza Shvarts
Band portraits by Estelle Hanania / Detail from mural Vita at the Emanuel Vigeland Mausoleum, Oslo
© Emanuel Vigeland Museum / ARS 2015
www.southernlord.com
"Those grimrobed ambient metal overlords O'Malley & Anderson (here with guests including Oren Ambarchi and vokillist Attila Csihar) add a new opus to their extensive discography of doom/drone masterwerks! The three part Kannon, which may have germinated from the track "Cannon" found on their live Domkirke double lp from 2008, is art to play loud. All deep drones, deep voices, doubtless deep thoughts (check out the liner notes by critical theorist Aliza Shvartz). And here are OUR notes: Abyssic atmospheres of vast grinding drones. Layered, liturgic cavernous ritual. Gorgeously sculpted feedback flowmotion. Along with moments that remind us of the wide open Western spaces twang of more recent Earth (or Barn Owl) as well." [Aquarius Rec.]
|
2015 |
€13.00 |
|
| |
ØØ VOID |
CD |
"OO Void was originally released in 2000 by Hydra Head in the USA and Rise Above in the UK and Europe. They have been out of print for approximately 8 years now. *In 2008, OO Void was reissued in Japan only through Daymare Recordings. That release featured a second disc of remixes from the experimental/industrial group Nurse with Wound. *The record has now come back home to its proper resting place via Southern Lord. Beautiful artwork from Stephen Kasner and package execution via Stephen O'Malley. -Petra Haden (Queens of the Stoneage, Foo Fighters, The Decemberists) contributed Violin and vocals to the album -Pete Stahl (Scream, Wool, Goatsnake, The Earthings?, QOTSA) contributed vocals to the album -Rabid, fiendish following. This will be hunted down and devoured. *OO Void (also known as Double-O Void) was the second album recorded by sunn O))) circa 2000. At that time the guitarist & core members: Stephen O'Malley and Greg Anderson were joined by guest bassist collaborator Stuart Dahlquist (Burning Witch, Goatsnake). OO Void also features some incredible contributions from both Petra Haden (Violinist/Vocalist) and Pete Stahl (vocals). Their melodic evocations are seamlessly woven within this thick sonic tapestry. The group approached the compositions of this album in a different way than their previous recordings. Each member focused intently on one composition/song and brought it into the recording session. Then each of those songs that were brought in were translated to the other members and nuances were worked out on the spot in the studio. Greg Anderson aka The Duke brought in: NN0))), Stephen O'Malley aka Mk Ultra Blizzard brought in: RA at Dusk, Stuart Dahlquist aka G.Subharmonia brought in: Richard *The exception to all this was the inclusion of a rendition of a obscure Melvins song called: "Rabbits' Revenge". This song was actually never recorded in the studio by the Melvins and the riffs were salvaged from a live tape that Anderson had of the band playing in Seattle from March of 1985! *This album was recorded to 24 track 2" tape at Grandmaster studios in Hollywood, California. A large step forward in production values from the band's debut recording The Grimmrobe Demos. Fellow sub-sonic entusiast Scott Reeder (the Obsessed, Kyuss, Goatsnake) captured that particular incantation of sunn 0))) on huge reels of tape." [label info]
www.southernlord.com
|
2011 |
€13.00 |
|
| SUNROOF! |
Panzer Division Lou Reed |
CD |
SUNROOF ist das Solo-Projekt von MATTHEW BOWER (aka SKULLFLOWER), der sich gerne von diversen Gastmusikern aushelfen lässt..
"Beneath the usual lovely psychedelic artwork on the cover of Panzer Division Lou Reed lurks Sunroofis most explosive and assaultive record ever. The key track here in the Sunroof! evolution is the opener iSlew Plateaus #1,i with Mick Flower (Vibracathedral Orchestra) on guitar and John Moloney (Sunburned Hand of the Man) on drums. This live shot of electricity gradually ramps up from Flower and Matt Boweris dueling guitars to the point where Moloneyis drums come crashing in after about six minutes, leading to a furious crescendo that lasts for the remainder of the 19-minute track. iSlew Plateaus #2i is a lengthy collaboration with underground gadabout Mattin, whose previous collabs with Tony Conrad, Bruce Russell, Eddie Prevost, et al. hopefully prepared him for the Bower wrecking ball delivered here. The other two cuts are absolutely blistering demolition work, which, in spite of their visceral impact, reach a state of zen-like stasis after a couple of minutes, * la the best of Boweris work with Hototogisu."[label info]
www.vhfrecords.com
|
2007 |
€13.00 |
|
| SVARTSINN |
Mørkets Variabler |
CD |
Now 8 years since the last full length for Cyclic Law, Norway’s SVARTSINN returns with a new opus, reaffirming his place as one of the world’s premiere Dark Ambient acts. For this album Jan Roger Pettersen is accompanied on some tracks by fellow Norwegian Amund Ulvestad on Cello, providing new elements to Svartsinn’s distinct ominous drones. Mørkets Variabler translates to "Variables Of Darkness" and it is a certain combination of such variables that fuels the urges and need to create the atmospheres translating as Svartsinn. Darkness comes in various shapes and forms and through these new pieces we are plunged into this vast and singular subject, left to our senses to explore it’s subtle meanings and impressions left within ourselves. Presented in a unique Limited Edition Hardcover Digibook as well as a Limited Gatefold Double vinyl. The vinyl version includes an exclusive remix of the track “Echoes Of Silent Cries” by Sweden’s KAMMARHEIT. Artwork by Dehn Sora.
CD Digibook Edition of 500 Copies. Hardcover, 4 panels sleeve with 16 pages Booklet. 7 Tracks. Running Time 63:51
Double Vinyl Edition of 300 Copies. Gatefold Sleeve with printed Inner Sleeves on Black Vinyl. 8 Tracks. Running Time 72:00
https://cycliclaw.bandcamp.com/album/m-rkets-variabler
|
2017 |
€16.00 |
|
| |
Morkets Variabler |
do-LP |
Now 8 years since the last full length for Cyclic Law, Norway’s SVARTSINN returns with a new opus, reaffirming his place as one of the world’s premiere Dark Ambient acts. For this album Jan Roger Pettersen is accompanied on some tracks by fellow Norwegian Amund Ulvestad on Cello, providing new elements to Svartsinn’s distinct ominous drones. Mørkets Variabler translates to "Variables Of Darkness" and it is a certain combination of such variables that fuels the urges and need to create the atmospheres translating as Svartsinn. Darkness comes in various shapes and forms and through these new pieces we are plunged into this vast and singular subject, left to our senses to explore it’s subtle meanings and impressions left within ourselves. Presented in a unique Limited Edition Hardcover Digibook as well as a Limited Gatefold Double vinyl. The vinyl version includes an exclusive remix of the track “Echoes Of Silent Cries” by Sweden’s KAMMARHEIT. Artwork by Dehn Sora.
CD Digibook Edition of 500 Copies. Hardcover, 4 panels sleeve with 16 pages Booklet. 7 Tracks. Running Time 63:51
Double Vinyl Edition of 300 Copies. Gatefold Sleeve with printed Inner Sleeves on Black Vinyl. 8 Tracks. Running Time 72:00
cycliclaw.bandcamp.com/album/m-rkets-variabler
|
2017 |
€26.00 |
|
| SWIEZYNSKI, MATTHEW |
The one who modifies Time and Light |
CD |
CD with handmade packaging in an edition of 200. Sleeves feature a black monochrome craquelure abstraction, a number of these are available in a box with specially made art-work and a bonus CDr (edition of 11).
First in a series focusing on sound and music in cinema, dwelling on field recordings, follies and harmony initially used to augment picture, now isolated and modified as a lover's response to the experience of film.
The recordings are highly memory-annihilated edits of a mediation on the work of Satyajit Ray's Apu trilogy, created initially for Patrick Mcginley's Framework Radio. A further reworking of this music began in the logic editing system, where a slow-duplication was instituted in order to create a more stereo-rich listening experience. Soon discovered was a plethora of glitching errors. These glitching dreams were then augmented and purified in the tradition of John Cage.
In addition to these "chance procedures", a touch of immobility, abstractions and layerings was added underneath to release the
music further from its maker. After all this nonsense, the mix was found to be a pleasantly disorienting experience. This work is dedicated to my love Chi and our puppy Leviathan.
Leviathan gave me these words of inspiration which one can find in Paradise Lost Massacré :
"Infinite Vale. Through the vast and scornful deep, tossing fiery waves of dire hope, what sea-beast Leviathan that piloted the ocean storm, and burned lakes contrary to his own dark designs, he doth obscure mercy and continues on his dusky air. Praise Leviathan: the one who modifies Time and Light to drive us hence."
credits
released April 23, 2018
Artwork and design by Mount Analogue
Sleeve image by M. Świeżyński
Mastering by Stephan Mathieu
https://ingentingkollektiva.bandcamp.com/album/the-one-who-modifies-time-and-light |
2018 |
€13.00 |
|
| SYLVESTER ANFANG |
II |
CD |
"Verdammte Hippies! "Sylvester Anfang II" ist der authentischste, von Drogen zerfressendste, prallste, von gotteslästerlichem Hedonismus durchzogene Ausflug in die Zeit von Analogus Rex, den ich jemals gehört habe. Die Flamen spielen einen verqualmten Hippie-Jam, der sich gewaschen hat, oder eben nicht. Voller okkulter Mystik, ohne Plan, ohne Ziel. Krautrockjamsessions auf Acid während einem satanischen Ritus im Haus von Charles Manson. Gitarrengewaber, hypnotische Percussion, wummernder Bass, orientalische Harmonien, obskure Teufelsgesänge, altmodische Synthesizer, ein heißes Covergirl. Und der verrückte, dreckige Gesang von Clay Ruby alias BURIAL HEX im Hintergrund ist beim Zweiteiler "The Devil Always Shits in the Same Graves" sogar richtig furchteinflößend.
Irgendwie sind SYLVESTER ANFANG geil, irgendwie nicht nachvollziehbar. Ich glaube, im LSD-Rausch ist dies die ultimative Musik, herrlich unterproduziert, ohne Songs im eigentlichen Sinne, von ein paar Wahnsinnigen, die trashige Horrorfilme ein wenig zu ernst nehmen. Diese Verbindung von POPOL VUH und AMON DUUL ist allerdings ziemlich mutig, das Ganze auf eine Länge von fast siebzig Minuten auszudehnen, geradezu wahnwitzig. Vor allem laut aufgedreht und bei vollem Bewusstsein entfaltet "Sylvester Anfang II" ungeahnte Faszination, hauptsächlich bei Althippies und Typen, die letztes Wochenende auf einer harten Pilzmischung hängen geblieben sind." [Vampster]
"All things must evolve, and given time even the unicellular organisms dwelling in ocean's deepest fathoms may shift form and take to the skies. In celebration of the mysteries of evolution, Aurora Borealis proudly presents SYLVESTER ANFANG II. In the time since the release of Kosmies Slachtafval, Silvester Anfang have grown into SYLVESTER ANFANG II, a more psychedelic beast, a more tangible creature in some ways, but one that defies and confounds standard classification. Taking their cue from Krautrock communes of yore, the Flemish troubadours have expanded both ranks and minds and now present this giant new opus for general consumption. With cultish numbers swollen with new blood in the guise of Stef Anus (Kiss the Anus of a Black Cat), Father Sloow (Sloow Tapes pontiff), Bram (Ignatz) and Clay Ruby (Davenport, Burial Hex ), the sound is much fuller and more reminiscent of Krautish dope jams then ever before. Ruby's vocal additions create a whole new universe for the band, rather like if Dr. John had been born in a plague pit in Flanders, and the resulting tracks "The Devil Always Shits in the Same Graves" parts 1 & 2 are masterful examples of Flemish voodoo boogie. The new material is more hypnotic than before, and the band are sure to add new members to their fan cult as they slink across Europe like a fog in the coming months. Sure to upset parents and upstanding citizens with their occult themes and liberal Europeanstyle artwork, SYLVESTER ANFANG II reach new levels of consciousness with their mantras of goat worship and the orthodoxy of denial that states "Only analogue is real". Dust off your robes, sharpen the sacrificial blade, order in some Trappist beers... Tune in, turn on, evolve." [label info]
www.aurora-b.com
|
2009 |
€13.00 |
|
| 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 |
|
| SYRINX |
Outside the Life that's haunting me |
do-CDR |
"Second release for Dark Meadow Recordings... First run of 35 has no cat number on them as they have been printed before Dark Meadow Recordings was properly realised.
Syrinx - Outside the Life that's Haunting Me, Featuring Jon (Ghoul Detail), Dave (Glowingpixie), Ed, and Al (Calactus) on Distant.
Case hand made, numbered and with insert.
4 Track 2 x CDR, Artwork by Glowingpixie.
1st (54mins) "Distant" - lo-fi ambient drone track featuring Calactus on vocals.
2nd (7 mins) "Syrinx Love Song" - harsh ambient noise track.
3rd (36 mins) "Give Up!" - drone / harsh ambient track.
4th (30 mins) "There You Are" - electroacoustic drone track." [label info]
www.darkmeadowrecordings.com
|
2010 |
€10.00 |
|
| |
Hunted: Without Tears in their Eyes |
CD-R |
"2 Track 70min, Harsh Ambient / Drone CDr... Syrinx is Glowingpixie, Ghoul Detail and Pink Venom, the 4th album Hunted: has dark drones, tons of texture and ambience. Artwork by Glowingpixie." [label info]
www.darkmeadowrecordings.com
|
2010 |
€8.00 |
|
| SYRINX / PLAYING WITH NUNS |
split |
maxi-CDR |
"2 Track 30 min... Harsh Ambient / Drone / Noise CDr... Reissue from Cubiculo Noise Recording label from Argentina, Featuring Playing with Nuns who organised the split and did the artwork. Slightly remastered from the original recordings... Syrinx - Dave on Bass / Trumpet / Electronics, Ed on Guitar, Keyboards, Jon on Guitar. Limited to 80 copies." [label info]
www.darkmeadowrecordings.com
|
2010 |
€6.00 |
|
| TABOR RADOSTI |
Havamal |
CD |
Tábor Radosti is a fantastic band from the Czech Republic. Their debut album came out in 2001 as a self-released CDR that is now totally impossible to find. Tábor Radosti have created a very unique sound that includes drone, voice, samples, but also beats and analogue instruments. Their visuals and lyrics are very much centered around occult themes, if you have ever seen them live you will have been stunned. Klanggalerie is now very proud to start a re-issue program for the first two albums. Many of you have probably not heard of them before, but it is time that they gain popularity outside of their home country. The vocals are spoken in Czech - to Western European or American ears there is a certain similarity to early Laibach, they share the same roughness, but Tabor Radosti also include electronic beats which again is reminiscent of present day Laibach. On this re-issue, we bring back the second album Havamal with also updated artwork and some bonus tracks. NB: We at Klanggalerie stumbled across Tabor Radosti at Castle Festival in Moravia and were so impressed by their performance that we signed them immediately.
https://klanggalerie.bandcamp.com/album/h-vam-l
|
2018 |
€14.00 |
|
| TAM QUAM TABULA RASA |
Fabula Rasa |
CD |
"Und dann ist es doch noch passiert! Über 15 Jahre nach den ersten Cassetten erscheint endlich die erste full-length CD der italienischen (for me at least) KULT-Gruppe! Auf 6 Stücken breitet sich hier ihr typischer, auf endlos-loops basierender hypnotischer Sound aus.. weniger noisig als auf älteren Cassetten, ist dies eine würdiges erstes Album!" [Drone Rec. info 2001]
„First widely distributed CD from this well travelled Italian group. Obscure ritual sounds utilizing loops, restrained feedback, natural sounds, bells, various percussive elements and droning tones. At times hypnotic and flowing, other times more creepy, abrasive and cold. Sexually graphic artwork.” [label info]
|
2001 |
€13.00 |
|
| TAMING POWER |
Twelve Pieces |
10" |
Der wohl auflagenstärkste Release bisher von dem norwegischen Geheimtip TAMING POWER - und wieder eine 10" ! Der Nachfolger von THREE PIECES und SIX PIECES beginnt mit kleinen Minimalismen jeweils für eine Solostimme, in Form von Gitarre, Casio-Synth & Zither... Auf Seite B aber finden sich weitaus komplexere & dronigere Stücke, wo Instrumentalflächen-Sounds übereinander geschichtet werden - das erinnert dann mehr an die schönen "three pieces" und "six pieces"- 10"es...
Die Coverartwork (handgeschriebene Labels & Credits, etc.), die Musik - all das strahlt einen sehr persönlichen DO IT YOURSELF - Geist aus, abseits von jeglichen Trends kreiert hier jemand sein eigenen kleinen Kosmos.
"Until now releases by Taming Power, and there has been quite a few, were highly limited editions of around 150 copies, but this new one is released in an edition of 525 copies: the pressing plant don't do any less anymore. A pity since Taming Power has to 'sell out' before making anything new, so this might be one of the last before some time. Taming Power, the musical project of Askild Haugland from Oslo, Norway, is a man who loves drones, but as you can tell by the title these don't have to be long. Twelve pieces on a 10". The seven pieces on side one are short, sketch like pieces, played on the guitar, zither and keyboards. Haugland feeds the sound through a little bit of reverb, fortunate not enough to drown the sound, but to make the whole thing a bit 'rounder'. The pieces are simple melodies, effective and work best when played on the guitar. The keyboard pieces are bit less in quality I thought. The five pieces here are more complex, layered sounds, more sound effects, and effectively more drone related in the way people associate this with drones. Layered sounds, with the usual analogue means of Taming Power (who works with tape recorders rather than computers), these pieces are more along the lines of his recent works. Complex, drone based, this is some damn fine music going on. It would be a pity not see any new thing from him in a while, but maybe he should consider doing CDs? So I recommend any serious lover of drone music to get a copy (or two) and keep Early Morning Records alive." [FdW, Vital Weekly]
|
2007 |
€10.00 |
|
| TAPAGE & GARETH DAVIS |
STATES |
LP |
STATES started out as a live electronics setup, developed back in early 2016 by Tijs Ham. The first version combined analogue feedback with digital manipulations which resulted in a self-balancing and self-generating chaotic system, capable of producing deep, melodic and textured soundscapes. During a performance, the setup would be played until it would reach a state in which it was generating its own sonic material. The performer would then take a step back, allowing the system to run on its own. Carefully listening to the movements, progressions, noises, drones, and arpeggios until the urge to intervene took the upper hand and the system would be performed and nudged towards a new state of balance.
The STATES setup went through a series of revisions and alternative versions, each playing with the same basic ingredients, mixed up and prepared in various ways. In the summer of 2017, Tijs started to collaborate with Gareth Davis, well renowned for his work with contemporary and experimental music on the bass clarinet. During an inspired series of recording sessions at STEIM, the STATES setup was reinvented once again and lifted up through the spacious and engaging interplay between reed and recursion.
Recorded at STEIM
In the summer of 2017
Tijs Ham (Electronics)
Gareth Davis (Bass Clarinet)
Artwork by Tijs Ham
Mastered by Jos Smolders at EARLabs
Moving Furniture Records
This is release MFR074
www.movingfurniturerecords.com
https://gareth-davis.bandcamp.com/album/states
|
2019 |
€18.00 |
|
| TAPE LOOP ORCHESTRA |
Interiors Three |
LP + CD + BOOK |
Cobwebbed keys and dust mite spectres perfuse the dimensions of rooms 14-19 in the third and final volume of the Tape Loop Orchestra’s ongoing ‘Interiors’ investigations, subtly refining the Tape Loop Orchestra sound from vast and moor-like to minimalist and economic. Big tip if you’re into Tim Hecker, Basinski, A Winged Victory for the Sullen, Richard Skelton.
Again accompanied by a booklet of evocative “found” images, TLO vicariously probes our relationship to space and time thru the prism of domestic life, and more specifically, thru the spaces once inhabited by others. His music is a metaphor for the plasmic, entropic energy of human spirits, and their referential ephemera, using the glimpses of other peoples lives - as found in the booklet - as cues for haunting strokes of dilapidated piano coupled with cosmic sighs that strafe the soundfield like the timelapse of midwinter sun dialling an empty bedroom. The LP features two related pieces, while the CD revolves one long, immersive track formed of outtakes.
“Rooms are an incarnation of the people who inhabit them. The selection of items are signs of status, emblems of their aspirations and signatures of private lives. Even when empty the omnipotence of the inhabitants is on display through the soft furnishings, artworks and trinkets.
Empty Time is the third volume of Tape Loop Orchestra’s Interiors series. Across the series TLO adopts a restrained minimal approach, focusing on the spatial aspects of sound TLO offers up a soundtrack to interiors bereft of inhabitants. Offering his own collection of found photos as a visual guide the listener is invited to meditate on the spaces we inhabit and what ephemeral energy is left behind when they are not in use.
|
2019 |
€34.00 |
|
| TAPHEPHOBIA |
Escape from the mundane Self |
CD |
"Sixth release (and the first for Cyclic Law) of the Norwegian drone ambient project Taphephobia created by Ketil S (also of Mulm and ex-Northaunt.) As emphasized by its title, this record is intented to take one away from the mundane everyday world, it is not a concept album, rather an album where both the music and the titles are open for interpretation. The soudscapes lead to an inner experience where you can discover your own hidden voices and your own secret world of colours. An inner journey which stretches the imagination from terrifying seastorms to idyllic moments of wintery landscapes. Artwork by Dehn Sora.
Edition of 500 copies in 4 panel Digi sleeve. 11 Tracks. Running Time 53:00." [label info]
www.cycliclaw.com
|
2013 |
€13.00 |
|
|
House of Memories |
do-CD |
As Reverse Alignment was established in 2007 we also made our first contact with Ketil Søraker. His guitarbased drone project Taphephobia had just a moment ago released it's first opus "House of Memories" through the belgium label Nothingness Records. From there on we've been in touch more or less, (in a more constant period) when putting out "Anomie" and "Black City Skyline", (and more or less) over the years when new production's emerged.
Since Taphephobia's first release in 2007, Ketil's project is now a permanent act under the banner of Cyclic Law and has since it's start released six albums, and a load of collaborative albums and compilation tracks.
Now, 10 years after it's publication, Reverse Alignment release House of Memories again, with new artwork and design from Haerleif Langås and mastered by Frédéric Arbour. As a special treat follows eleven selected compilation tracks put together for this release. All a good way to summarize ten years of Taphephobia, from how the project sounded in the early days to today.
reversealignment.bandcamp.com/album/house-of-memories
|
2017 |
€16.00 |
|
|
Ghostwood |
CD |
New deeply introspective album by Norway’s Taphephobia. Opting for a slightly cleaner sonic palette than previous releases using less processed sounds and a more natural sounding approach to his guitar work, Ketil Soraker pushes what is now considered as Taphephobia's signature sound. In the vein of his previous Cyclic Law release “Escape From The Mundane Self”, we are submerged in a skillful combination of lush ambient guitar passages, sonic abstractions and processed flute. “Ghostwood” is a most personal hymn to experiencing the solace of the northern forest. Artwork by NIHIL.
Edition of 300 Copies in 4 panel Digipak. 10 Tracks. Running Time 45:37
https://cycliclaw.bandcamp.com/album/ghostwood
|
2018 |
€13.00 |
|
| |
Blue Hour |
CD |
New album by Norway’s Cinematic Drone project Taphephobia. On is now 8th full length, we’re offered a dreamlike experience based upon personal emotional states and reflections of both the immediate environment and far reaching “outer” world. Not a concept album but rather a collection of feelings and visual impressions that revealed themselves in the compositional process. “Blue Hour” is dedicated to the unique atmosphere of the northern landscape. Artwork by Nihil.
Edition of 300 copies in 4 panel Digipack. 8 Tracks. Running Time 46:31
https://cycliclaw.bandcamp.com/album/blue-hour
"This new album guarantees static musical excursions and textured oceanic experiences of crystal purity and chilling beauty.
With his project Taphephobia the sound artist Ketil Søraker is rigorously following the path of deep ambient music with clear reverence to most representative classicists of the genre.
After a slow debut in this musical sphere, Taphephobia finally made a name and a growing reputation thanks to a contract with the indie dark ambient / post-industrial music label Cyclic Law. Solid albums as Ghostwood were released in relative discretion but elaborated with passion and obvious compositional skills. This project is inclined to smoothly layered sequences, timbral explorations with a fancy for cinematic qualities that invite the listener to enter mythical worlds where the ordinary sense of temporality is vanished.
Humming drones meet shimmering atmospheric soundscapes, the whole thing luring the listener in one extra-sensory slow motion immersion. This new album guarantees static musical excursions and textured oceanic experiences of crystal purity and chilling beauty. As for Ghostwood we can appreciate the occasional presence of transfigured and deeply sorrowing guitar lines in a dream-pop/ shoegazing style, floating between glimmering drones and a deep vastness. All in all Blue Hour is a quiet, charming, soothing and spacious ambient release with moments of forlorn stillness."[Philippe Blache, IGLOO mag] |
2020 |
€13.00 |
|
| 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 |
|
| TATE, DARREN |
The elves are coming |
CD-R |
Wie klingt es wohl, wenn Elfen erscheinen? In den Soundrahmen aus japanischen field recordings von DAISUKE SUZUKI (Grillenzirpen, etc.) fallen wellende Instrumentalklänge und einzelne Klangobjekte von DARREN TATE, die seltsam effektiert (deharmonisiert) scheinen, die Atmosphäre die so mit einfachen Mittel erzeugt wird lässt sich schwer beschreiben.... irgendwann kommen noch leise, schleppende Rhythmusmaschinensounds dazu, das alles höchst minimal und höchst seltsam .... 41 minutes, 2 pieces...
„Along with one of his best titles this features some excellent artwork from Darren and comes in the ‘usual’ Twenty Hertz style in a jewelcase with printed inserts. What we hear however is a little harder to explain. Guitar and Organ improvisations mix with everyday environmental sounds and field recordings that were captured in Japan and contributed by Daisuke Suzuki. These two worlds collide to create a very intimate affair. Ominous paranoid undertones rattle the tranquillity of late night insects, the insanity of the day impeding on the faded light“ [label info]
“... 'The Elves Are Coming' consists of him playing guitar and keyboard whilst in the background there is a field recording by Daisuke Suzuki. It was mixed in two days in early january of this year and, although it is never stated, it's probably recorded then also, as the whole thing has a very direct, almost 'live' feel to it. The guitar sometimes just 'hums' and seems not to be doing much, while we hear sounds of someone shuffling about in what seems to me a wooden cabin of some sort. It's the sort of ambient drone music that is not necessarily demanding much, more like a sort of coincidental colliding of sound particles. That may sound perhaps a bit too easy, but it's this apparent randomness that is quite nice.” [FdW/Vital Weekly]
|
2006 |
€10.00 |
|
| TAZARTES, GHEDALIA |
Diasporas |
LP |
Originally recorded in 1977, following a limited release in 1979, Ghedalia Tazartes debut album, Diasporas, introduced listeners to the surreal, mysterious and truly unclassifiable statement of Tazartes and his out-of-time place in the French avant-garde canon. Born in Paris in 1947 to Judaeo-Spanish parents of Greek descent, Tazartes spent his early career as an autodidact utilizing his knowledge of repetition and collage, coupled with his Ladino linguistic heritage, to create some of the most unique recordings of the late 20th century. Interest in the works of Tazartes truly sparked when artist Steve Stapleton included his follow up album, Tazartes' Transports, in his famed "Nurse With Wound List," thus adding endless curiosity to the folklore behind Tazartes and his mystical entree. From the onset of Diasporas, looping incantations seemingly pile up at the behest of Tazartes. In almost a prayer-like decree, Tazartes chants to the gods in an undefined whail that is both haunting and spiritually divine. Tazartes unique use of tape loops to capture the disappearing traditions of his family's past creates an atmospheric texture that unexpectedly complements his cut-up, manipulated vocal experiments. While contemporaries within the French avant-garde maneuvered academic theory and rigid tradition, Diasporas strays away from these boundaries, working in Tazartes' invented practice of 'impromuz', a method in which he endlessly records for hours and edits only the moments that display any sense of spontaneous enlightenment. Further emboldening the obtuse nature of Diasporas are the seemingly random recitation of poet Stephane Mallarme and the traditional 'Parisian-style' piano accompaniment of experimental composer Michel Chion. Since its initial release over 40 years ago, both Dais Records and Alga Marghen have released reissues of Diasporas in various formats, all of which quickly fell out of print. Dais Records presents an official reissue, newly remastered by Josh Bonati, utilizing the original artwork of Diasporas in its sole album form, for the first time in over four decades.
https://ghedalia-tazartes.bandcamp.com/album/diasporas
|
2020 |
€22.50 |
|
| TBC & SEEMANN |
Glashaus |
CD-R |
https://tbc-czepoks.bandcamp.com/album/glashaus
"Hamburg calling, mit auch wieder Artwork von Nika Vero, der Seefrau, als Augenfang. Nach “Mechanische Organisation”, dem 'Bhopal'-'Tibet'-'Goa'-Trip und der Schwarzwaldfahrt “Passhöhe” sitzen Thomas Beck (aka TBC) und Kai Seemann (Mono Lüüd, tbc_czepoks) im Glashaus. Wie wir alle. Und die trotzigen Idioten, die dennoch mit Steinen schmeißen, von außen und von innen, die nehmen täglich zu. TBC tuckert elektronisch-technoid, wie auf der Flucht. Oder um zu retten, was, kipppunkt-sensibel, noch zu retten ist? Seemann harft – als Betrachter dessen, was der Fall ist [https://seemann1.bandcamp.com] – entsprechend melancholisch im Innenklavier, wobei in diesem elektronisch modulierten Flimmern das De profundis- und Vanitas-Feeling der Musica antiqua bis hin zu Dowland mitzuschwingen scheint, knietief in Moll. Von Saiten, die wie mit bebenden Lippen 'singen'. Genau in der Mitte der 32:23 setzt ein Surren ein, während das dadurch verunklarte hastige Tuckern sich nahezu überschlägt. Doch das schmerzliche Vibrato breitet weiter seine silbrigen Flügel des 'Gesanges', so eskapistisch es nur geht (doch ohne Heine-Ironie) (oder mit?). Das Sirren jedenfalls, das greift um sich und leckt auch schon an den Fersen der hetzenden, hudelnden Beats." [BA 121 rbd]
|
2023 |
€8.00 |
|
| TEARDO, TEHO & BLIXA BARGELD |
Nerissimo |
LP |
Sie sind zurück! Drei Jahre nach ihrem Debüt „Still Smiling“ veröffentlichen Teho Teardo und Blixa Bargeld ihr neues Album „Nerissimo“. Darauf zeigt sich erneut ihre langjährige, künstlerische und persönliche Verbindung. Während viele gemeinsame Projekte zeitlich befristet sind, haben Teho und Blixa ihre Beziehung neu definiert und erkunden gemeinsam neue musikalische Territorien.
Zum Artwork des Albums wurden sie vom Gemälde „Die Gesandten“ inspiriert, das Hans Holbein der Jüngere 1533 schuf. Darin sind Referenzen zur Philosophie, Religion, Sterblichkeit und Illusion eingebettet – Themen, die ebenfalls auf dem Album aufgegriffen werden. „Nerissimo“ ist der italienische Superlativ für schwarz – und das ist dieses Werk durch und durch. Dabei ist jedoch mitnichten „dunkel“ gemeint, wie die Farbe sonst gerne assoziiert wird. Schwarz enthält alle erdenklichen Farben und ebenso bietet auch die Musik unzählige Möglichkeiten.
So spielen sich in den Songs mikroskopisch kleine Dramen wie in einer Petrischale ab ("Ulgæ") und erstrecken sich zu einer surrealen und kosmischen Siebenminutenreise in „Animelle“. Der Titeltrack eröffnet das Album auf Englisch, beendet es auf Italienisch und wirkt so wie eine Buchstütze, die eine wertvolle Sammlung literarischer Werke umklammert. Neu ist der Einsatz von Holzblasinstrumenten. Umgeben von Tehos Baritongitarre, Glocken und dem Arrangement klassischer Streichinstrumente spielt vor allem die Bassklarinette eine signifikante Rolle. Wie eine Schutzhülle umarmt sie zärtlich Blixas tiefe und gleichzeitig liebliche Stimme.
Die Sprache verbindet auch die beiden Städte Rom und Berlin, in denen das Album aufgenommen wurde und legt den Grundstein für eine emotionale Reise durch die letzten drei Jahre des gemeinsamen Arbeitens. Die mannigfaltigen Facetten der verschiedenen Schwarztöne bilden ein Tagebuch von Geistererscheinungen. Von Farben, die – einmal beim Namen genannt – das ganze Universum verändern können. Sie gleichen einem Flug durch die Nacht, bei dem die vielen einzelnen kleinen Lichter der genannten Hauptstädte von oben sichtbar werden und ein ganz neues Bild ergeben.
https://neubauten.org/de/releases/nerissimo
|
2016 |
€20.00 |
|
| TELEPHERIQUE |
Bionik / Biomimetik |
LP & CD |
“The legends of post/industrial sounds back on laub, after their contribution on laub's very first release : va. "automation" do-12",
here and for now with an exceptional project dealing with the nature and their imitation by so called science. the release is split
up into 2 parts : bionik (cd) brings the basic, the elements of nature together in an ultra long piece to show : its not able to seperate
them from each other. the biometrik (lp) shows what mankind made out of the nature-given-basics : the try to fake and improve.
"concern that we don't invent anything new, we´re no innovaters, we´re only repeaters, imitators of that what the nature is doing
since milleniums. we invented weapons, cars, tv... but don't you agree that the one who invented us, the one who gave us all the basics for our 'inventions' did a 'better job' at all?! and is it really able to improve what's perfect already?" this release brought on the way with the massive support by the ant-zen company. artwork by s. alt / ant-zen. limited to : 499 pieces.”[label info]
|
2004 |
€10.00 |
|
| TELEPHERIQUE VS. S-CORE |
Result of a mail-art 1992 |
CD-R |
"Reissue of an old cassette, this collaboration is a perfect example of
the strange & captivating atmospheres s•core could create, reworked &
transformed by the many different sounds of telepherique. full color
pro-printed A5-sized carboard cover in a plastic sleeve & full printed
cd-r with artwork by cyril herry." [label info]
www.taalem.com
|
2007 |
€9.00 |
|
| |
Past-Art |
mCD-R |
Neben der Wiederveröffentlichung der alten mail-art collab MC (Kokeshidisk) gibt es auf Taalem auch zwei neue Remixe von TELEPHERIQUE mit rauhen, unwirklichen, grottigen Granular-Dronescapes... dunkel, verstörend, aufregend arrangiert...
"telepherique remixed/reworked a s•core 7" released in 1995 for a unique result, perfect mix of weird sounds & atmospheres. full-colour printed 3" cd-r with artwork by delphine ancelle-b." [label info]
www.taalem.com
|
2007 |
€5.00 |
|
| TEMPLE MUSIC |
Volume II |
CD |
"Temple Music return to the themes first set out in Volume One – that the Olympian Gods of ancient Greece can still walk amongst us - in their superb new album, Volume Two. In the years intervening, Temple Music have evolved - via some stunning live shows and the Songs Of Absolution album, as well as the explorations of sonic possibilities in the ongoing Green Man series - into a unique acoustic/electronic/experimental/mythic band, and each of the six tracks on this new collection displays a different facet of their sound. Key personnel continue to be Stephen Robinson and Alan Trench, joined here by Julie Brackenbury and Tracy Jeffery. Using old analogue synths, delicately plucked and blown acoustic instruments and an acute musical sensibility that melds together seemingly disparate elements into a visionary whole, Temple Music create mesmeric and awe-inspiring soundscapes; for invocation and contemplation; for navigation through the dreaming backwaters of the aeons; and for the starlit times that shiver in the spaces between - intense and atmospheric, shifting and hypnotic . As you would expect from Temple Music and Shining Day, this new collection comes in a wonderfully evocative package; a foldout full colour wallet from original artwork by Alan Trench printed on heavyweight textured stock and cased in a protective wallet. Edition of 300 copies." [label info]
www.shiningday.pl
|
2007 |
€13.00 |
|
| |
Songs of Absolution |
CD-R |
"Ltd edition of 200 copies beautifully housed in a gatefold digiwallet, each one of which is an original artwork in acrylics from the Apocalypse Sunset series by Stephen Robinson and Alan Trench.
Art print insert and outer protective sleeve.
The second album by Temple Music is a pause for breath between the Volume One and Volume Two workings and the first recorded output of the project after expansion to a duo with Alan Trench (Orchis, 12000 Days, World Serpent etc) now joined by Stephen Robinson (Bug, The Beloved, Mutoid Waste).
Opening with the lyric beauty of Myrrh and Belladona (featuring Tibetan singing bowls and Pixiphone) the mood deepens with the elegiac drift of Eisendrang where, to a stately undertow of subterranean gongs, the loss of the past is mourned with a distant wail of feedback as a floating, spacious fx guitar duels with whistles and a bass Moseno flute.The mood changes again with Harmony Rosy Cross, a paean to a dead friend which features oddly out of kilter acoustic and electric guitars circling and spiralling, changing and unchanging ceaselessly and hypnotically, never quite resolving.Satyrion was written specifically as part of the soundtrack to HAXAN (Witchcraft Through The Ages)(1922) and first performed at a screening of the film on 01 07 05 ev.The atmospheric version here magisterially conjures the nightmare claustrophobia of Benjamin Christensons surreal and hallucinogenic masterpiece.The album continues claustrophobically to close with Thunder: Father of Bulls, a section of a much longer piece (an invocation to Poseidon) which showcases the band in a live setting with analogue synth, fx guitar and a bass delay system.
Despite - or because of - having so many disparate elements, the album is a cohesive whole and a joy to listen to (preferably around 3 o'clock in the morning). The dreamer will awake." [label info]
www.shiningday.pl
|
2005 |
€9.00 |
|
| TEMPLEGARDEN'S |
Velvet Steel |
mCD |
Collector’s item! Three pieces from the german ritual ambient – group around SYNAPSCAPE- and ex ARS MORIENDI-members. Long eerie tunes & atmospheres...
Fabric-pressed mCD in an edition of only 100, special artwork, three inlay cards, numbered edition. High price unavoidable, sorry !
|
2006 |
€22.50 |
|
| TENHORNEDBEAST / MARZURAAN |
split |
CD |
Zwei lange Stücke auf dieser Split der Bands aus UK. Unfassbar weiten & mächtigen, fast halbstündigen DOOM-DRONE produzieren TENHORNEDBEAST, die früher als ENDVRA aktiv waren. MARZURAAN ist die zweite Inkarnation von RYN, und sie rocken hier weniger metallisch-krachig, sondern in wunderbarer ultra-minimaler JESU-Manier... Spezielles ausgestanztes Cover.
"Aurora Borealis is proud to present this split CD by two of the lesser known greats from the Northeast of England. TENHORNEDBEAST is the dark vision of Christopher Walton, part of the much feted ENDVRA, masters of 90s dark and occult ambient. 'Law of the needle', clocking in at over 28 minutes, is an oppressive opus of doomed drone, both monolithic and multifaceted. Pure power. "elongated, sinister drone, ...distant, echoing string resonance from bowed guitars and cold, steely walls of distortion" think the good folks at Boomkat, as well they may. MARZURAAN contribute 'Into countless battles', 13 minutes of narcotic guitar haze. I think this is my favourite of anything they have done to date. So good, you never want it to end. The gruff metal grunts of the 'Solid Wood' LP have been replaced by a subdued, almost crushed vocal, totally stands out. "acres of textured guitar, low end pressure and brooding drums" say Boomnkat. Can't wait to hear more from MARZURAAN - this is epic, like a bassier, looser, Mogadon dosed JESU with a man past caring roped in to give his thoughts on where its all gone wrong. Pete from MARZURAAN did the artwork and layout. Printed on heavy textured card and with 2 diecut runes. Comes in a pvc bag." [label info]
" Every once in a while, someone will release a record, and we can't help but feel like it was made specifically for us. And for you. Some records just perfectly speak to the aQ aesthetic, as undefinable as that seems to be. This is another one of those cases. Someone thought it would be a perfect combination to match up UK one man ambient drone outfit Tenhornedbeast, with UK slow motion doomlords Marzuraan. And it is perfect. And a fantastic idea, but just because something is a great idea, doesn't always mean someone thinks of it. And we're not saying we had been thinking someone should get these two bands together specifically, we're just glad they did, and we sort of wish we HAD thought of it. But that's neither here nor there. The important thing is that it happened, and now we can all luxuriate in the deep dark heaviness both of these bands explore. And while the bands are indeed different, their aesthetics are not all that far removed. The both exist in some blackened nether region, haunting sonic realms, where heaviness can be expressed in both utter darkness and extreme force, sometimes
both, and once in awhile neither.
Tenhornedbeast offer up a nearly 30 minute long sonic ritual, beginning as a bit of swirling black minimalism, but slowly building to a truly intense wall of doomdrone, the sound thick and textured, a churning cauldron of low end buzz and downtuned disembodied riffs, all brought to a boil and poured out in a viscous black torrent, left to flow like some subterranean river. But these deep drones are laced with melodies, and keening high end shards, allowed to shine forth occasionally, but often swallowed up before they can fill those caves with their unnatural light. The track continually changes shape, sound and timbre, various shades of grey and black, lightening and darkening as the landscape changes, a haunting journey through some lost world, where sound replaces sight, allowing us to navigate ever deeper.
Marzuraan counter with what must be one of their prettiest tracks ever. It's still sludgey and doomy, but the notes ring out, the melodies almost soar, the sound fuzzy and glimmering, almost like these guys have caught the shoegaze bug as well. Washed out and blissy, super melodic and melancholy, but the coolest part is that the track seems to warble and waver, almost like someone is manually adjusting the tape speed, so the notes sound drunken and drugged, the track lurches and weaves drunkenly, only adding to the haunting and off kilter beauty. Part way through, the riffs get a little more riffy, and then the vocals come in, a moaning distant croon, and we're most definitely in serious Jesu territory, but that weird speed shifting hitch, keeps it from sounding too pretty, or two blissy. But if these guys keep heading in this direction, they could definitely give Jesu, and Nadja and other metallic shoegazers a run for their money.
The packaging is super swank, a three panel gatefold, each of the front panels diecut with each band's symbol, printed inside and out, housed in a thick plastic sleeve with a sticker affixed to the front." [Aquarius Records review]
www.aurora-b.com
|
2008 |
€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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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 |
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 |
|
| THE LORD |
Forest Nocturne |
LP |
The debut solo album from sunn O))) axe-man Greg Anderson as The Lord. 8 song collection of dark heavy cinematic-inspired darkness. Limited edition vinyl release.
Forest Nocturne sees Anderson taking cues from legendary film composers: John Carpenter and Bernard Hermann, in order to create cinematic landscapes which are heavy with tension, and offset by the injection of lethal doses of early 90s Scandinavian Death Metal - with Attila Csihar (of notorious Norwegian black metal band Mayhem) lending his putrid vocals to final track ‘Triumph of the Oak’.
For Forest Nocturne, Anderson worked with renowned producer Brad Wood. Dan Seagrave's epic and fantastical style is instantly recognizable on the album's stunning artwork, something which seems to depict an ancient and unknowable force in the woodlands. Forest Nocturne is described by Anderson as “the music of the night”, but inspired by imagery conjured on daytime hikes, and majestic and beautiful trees, which he sees as survivors - and perhaps the last known connection that we have to an ancient world, and acting as a connector between past, present and future of the human race and of our time on this planet.
https://thelordsl.bandcamp.com/album/forest-nocturne
|
2022 |
€20.00 |
|
| THE SAND RAYS |
Remembered Vol. 1 (EPs gathered together) |
CD |
After the dissolution of The Infant Cycle, Jim DeJong went on a hiatus from production, and disappeared into seclusion. However, after a few months, an offer to score a feature film appeared, which spurred him back into production. A lot of flexible basic tracks were produced during this time, that could be fitted together for different scenes. Unfortunately, the film production ground to a halt, but being active again caused DeJong to begin his new project, The Sand Rays, and adapt some of the film score ideas into something that could be released and heard. A number of EPs were released on DeJong's label The Ceiling in tiny editions, under a number of similar names (The Sand Rays, Ray Sands, Sandra Y.), which are hard to find. The sounds emanate from an assortment of instruments and sound makers including carved runout grooves, bass guitar, bird cages, shortwave radio, and more, cooked into a choppy stew of drones and mood.
The cover photo reflects its contents. Up close, a pretty photo of sumac, but pulls back to reveal a more troubled location. This location was outside DeJong's old studio, a brownsfield too toxic for people, but a safe place for the vegetation to flourish.
The material could be considered an extension of the final inclinations of The Infant Cycle, such as the "Drop-out Center" album (2012, Zhelezobeton): zhelezobeton.bandcamp.com/album/drop-out-center A new chapter in the same book? Now we bring together the rare first four EPs in an easier to find and digest package, with full colour sleeve artwork. Eight interlocking tracks. Play it straight through, or random, or repeat.
zhb.radionoise.ru/eng/zhb-lxx.html
zhelezobeton.bandcamp.com/album/remembered-vol-1-eps-gathered-together
|
2017 |
€12.00 |
|
| THE SWIFTER |
Wall Sailor |
LP |
"For some this could sound like a supergroup: Simon James Phillips' vivid piano playing with Andrea Belfi's precise percussion and drum patterns make the perfect companions for BJ Nilsen's electronics, welding together a driving energy.
It is a rare treat to come across a record that imparts music as spacious as Wall Sailor. The album's ability to capture the listener with a mixture of acoustic instruments, field recordings and digital processing, with constant movement and relentless tension, is nothing but astonishing. Just like an actual murmuration in the sky, the trio's music refuses to keep steady and allows us to perceive its structures and formations from afar. These pieces could go everywhere; and yet they remain as pleasant as they are fascinating and never fail to impress. The Swifter's compositions breath an urgency for expression that never gives in to their controlled and skilled performance.
Listening closely, you can imagine following the beating of wings, as if these tracks have been waiting to be released to cherish their freedom.
Vinyl comes in a reversed cardboard jacket, printed in- and outside with Full Tone Colours, Lasercut-Artwork and Printed Inner Sleeve, ltd. to 500 copies."
sonicpieces.com
|
2016 |
€24.00 |
|
| THEME |
Our Angels dislocated |
CD |
RICHO JOHNSON (HUSK, SPLINTERED) is back! Das Trio THEME besteht aus mindestens zwei Leuten der ursprünglichen SPLINTERED-Besetzung, tönt aber weit experimenteller & ambienter als man es von den eher rockigen SPLINTERED gewohnt war..... hier werden lichte Loop-Drones, Sitarklänge & indisch anmutende Meditations-Gesänge zu pulsierend-trancigen, organischen Soundscapes vermengt.. ihre zweite CD.
”The second album from this UK/Poland-based trio, following several years since their warmly received 'On Parallel Shores Removed' CD (Fourth Dimension/Tremor Recordings), offering a rich, organic and atmospheric tapestry of ideas that serves as a revitalised statement of intent. Combining sitars, violin drones, guitar strums, mutterings from an otherwise deserted midnight subway, electronic swirl, piano and all manner of otherworldly textures, 'Our Angels Dislocated' remains both focused and complex enough to cast new shadows with every listen. Complete with exclusive artwork by British sculptor, Mo Jupp, it fits perfectly into Lumberton Trading Company's erratic and often changeable grand design. NB: If you have already purchased the original version of this album, with the manufacturing fault (a 'jump' between tracks 2 and 3), please do not hesitate to return it to wherever you purchased it from in order to arrange our replacing it with the repressed version.” [label description]
|
2006 |
€13.50 |
|
| THEY FOUND MY BODY BY THE RIVER (ANSGAR WILKEN) |
same |
7inch |
"7” Vinyl Record, 7 Tracks, Ted Serios Music No 3. Music and Drawings by Ansgar Wilken. Additional Voices by Mark Washeim & Max Hahn. Mastering by Gregor Hennig, Artwork by Javier Lozano (www.javier-lozano.tumblr.com)."
www.theyfoundmybodybytheriver.tumblr.com
|
2012 |
€7.50 |
|
| THISQUIETARMY |
Phantom Limbs |
CD |
"A phantom limb is the sensation that an amputated or missing limb (even an organ, like the appendix) is still attached to the body and is moving appropriately with other body parts.
++
Recorded between 'Aftermath' & 'Vessels' back in 2009. Everything was done - titles, artwork and photography by Meryem Yildiz. Somehow, with the delay of 'Aftermath' and with the new tracks that would make 'Vessels', the EP got shelved and was forgotten until earlier this year, and now resuscitated by Land of Decay on cassette (limited to 100 copies)."
|
2016 |
€13.00 |
|
| THROBBING GRISTLE |
The Second Annual Report |
do-CD |
"Nach 30 Jahren sind THROBBING GRISTLE zurück auf ihrem eigenen Label Industrial Records. Und zur Feier dessen erscheinen die ersten fünf THROBBING GRISTLE Alben auf Vinyl und CD. Jedes Album wurde mit Liebe von den Digitaltransfers der ersten Analogtapes neu gemastert. Jede der CD Special Editions erscheint als Gatefold Sleeve mit restauriertem Originalartwork und einem integrierten 8-seitigen Booklet. Jede CD Special Edition wartet außerdem noch mit einer exklusiven Bonus-CD mit Material aus dem Jahr des Originalreleases auf wie z.B. Livetracks und neu gemasterte Singles. Die Vinyleditionen haben ein großformatiges 8-seitiges Booklet mit THROBBING GRISTLE Material mit bisher unveröffentlichten Photos. Jedes Vinyl ist auf 2000 Stück limitiert. Die Tracklisten von CD und Vinyl sind gleich. Das "Greatest Hits" CD-Special verfügt überdies noch über zwei bisher unveröffentlichte THROBBING GRISTLE Mixe aus den 80er Jahren. Die Vinyle und CDs werden in wöchentlichem Abstand veröffentlicht werden.
On 26th September 2011 IR will make the following titles available as part of a 'TG Time Capsule' CD series of reissues. Each title has been remastered by Chris Carter and comes packaged for the first time in the digi-pak format to better represent their original IR LP artwork. Each release in this 'Time Capsule' series, comes with an additional disc of selected TG live performances culled from our TG24 archive recordings. They are selected to represent TG live performances specific to the original release year of each album." [label info]
www.industrial-records.com
|
2011 |
€18.50 |
|
| |
20 Jazz Funk Greats |
do-CD |
"Originally released in 1979, 20 Jazz Funk Greats is Throbbing Gristle's pop-influenced masterwork. It's hard to believe the beautiful, conventionally-attractive Cosey Fanni Tutti on this album's front cover previously gave herself milk and blood enemas in front of a live audience. Additionally, the song "Hot On The Heels Of Love" is far removed from the dissonant nihilism of the previous TG albums. It's a sleek, minimal synth-pop song that foreshadows Tutti's later work as Chris & Cosey. Still, 20 Jazz Funk Greats is underpinned by a profound distance from accessibility. The breezy luminosity of "Persuasion" and "Six Six Sixties" is still marked with casual bits of distortion and absurdism. Preceding dark synth-pop (and everything else), TG's third album is far ahead of its time and still sounds as relevant as ever. The CD version includes a bonus CD of live recordings, including two versions of the manic classic, "Discipline." The 8-page full-color book includes visual ephemera and previously-unpublished photographs. Cover artwork has been painstakingly restored from the original source material." [label info]
www.industrial-records.com
|
2011 |
€18.50 |
|
| TIETCHENS, ASMUS |
Spät-Europa |
CD |
Nummer Drei der Re-Release-Orgie auf dem feinen Bremer Label. SPÄT-EUROPA ist eines der vier frühen SKY Records Alben und beinhaltet 20 Miniaturen mit unnachahmlichen frühachtziger analog-Elektronik-Sounds...
“Part Three in the ongoing rerelease series of all early vinyl albums from 1980 - 1991, this is Tietchens second album for SKY Records recorded in 1981 documenting his search for his own style of'pop music'. Edition of 1000 copies in jewel case with poster booklet feat. the original cover artwork.
Liner notes:
Asmus Tietchens 'Spät-Europa' (Sky Records 070) 1981
Even more consistently than on 'Biotop' I kept all of the tracks on this album deliberately short. Originally, all of them were supposed to be exactly two minutes in length but, back then, without a computer, this was not really possible and the idea could not be carried ot precisely. Nonetheless, this strict concept gave the listener a total of twenty miniatures, four more than on 'Biotop'. The technical standard of the studio had improved rapidly. It was possible for me to indulge in as many tracks as I wanted ! However, these two aspects presented me with a creative problem: I either had to respond in a very appropriate way, or would end up producing somewhat useless 'filler' material. The first I was not yet capable of and the second would have been embarrassing. 'The shoemaker should stick to his last'! I decided to stay with a maximum of eight tracks as this would give me no problems at all. New synthesizers (Polymoog, ect.) and an enlarged array of additional equipment (EMS Vocoder, Ring Modulator, Sampler, ect.) forced me to learn a lot of new things, but I worked my way through it all quickly and thoroughly. The results found their way into the music on this album. The jubilant sound of 'Schöne Dritte Welt' was created by the late Andreas Hoffmann, a.k.a. C.V. Liquidsky. Parallel with this album I worked on a series with the working title of 'Experimentelle Geselligkeit', a string of musical sketches which I was wanting to use with my regular electronic equipment. I then realised that the relative inflexibility of the rythmn machine made it impossible to transform these sketches into complete works. The rythmic patterns proved to be incompatible. As a result, that work came to a halt, leaving the sketches unreleased. Two of them are included as bonus tracks on this CD. 'Soirèe' and 'Zum Tee bei Frau Hilde' were intended, in a re-arranged form, to be the basis of an album with the previously mentioned title of 'Experimentelle Geselligkeit'. The series was never completed, and the fragments were put aside. Only thirteen years later, when the 'Aroma Club' opened its doors, did I return to the idea. I would particularly like to thank Günter Körber of Sky Records for his permission to re-release 'Spät-Europa' and the other three Sky albums, and to use the LP labels in facsimile.” [press release]
|
2004 |
€15.00 |
|
|
Zwingburgen des Hedonismus / Mysterien des Hafens |
CD |
"Part 9 of the ongoing re-release series of all early Tietchens albums from 1980 - 1991 on CD. This combines two seperate releases from 1987 ('Zwingburgen des Hedonismus') and 1988 ('Mysterien des Hafens' on FACE TO FACE, VOL. 1'). 'Zwingburgen des Hedonismus' was originally released as a one-sided LP on swedish label Multimood and features a singles 21 min. long track composed on a Fairlight CMI. 'Mysterien des Hafens' was part of a split LP (the other side feat. DIE FORM) originally released on french label Odd Size and feat. recordings made by Tietchens using under-water microphones. The Bonus track 'Faircomp 1K' on this CD is a different version
of the first track and previously unreleased. First edition of 600 copies in jewel case with full cover artwork and poster booklet also feat. the original album covers. Total playing time: 56:41 min." [label info]
|
2006 |
€15.00 |
|
|
Notturno |
CD |
Schon die 10te CD in der DIE STADT-Reihe mit Wieder-veröffentlichungen früher TIETCHENS-Werke. NOTTURNO erschien im Original 1987 und schaffte eine ganze eigene, verstörende "Alien"-Atmosphäre, recht schroff & konkret mit viel verfremdeten Klaviermaterial und wieder bemerkenswerten Titeln wie "Halbe Tanzmusik" - wie auch "Formen letzter Hausmusik" eines der frühen Meisterwerke auf denen sich der hier schon unverkennbare TIETCHENS-Stil deutlich niederschlug.
"Tenth part in the ongoing re-release series of all early Tietchens albums between 1980-1991. Notturno was originally released by Spanish label Discos Esplendor Geometrico in 1987 and also by Barooni on CD in 1992. Remastered version in a first edition of 600 copies in jewel case with full color artwork and poster booklet also featuring the original front and back cover. By the time Studie für Klavier (Formen Letzter Hausmusik, DS84) was released, it actually wasn't my first attempt to use the piano as a sound source. Various pre-studies came before this, but all which either were not characterized as such in their title or simply didn't make it onto record. I was intrigued by the great range of sounds it offers in general, but also by the multiple possibilities to produce sounds inside of the piano. Of course I was fully aware that these techniques had already been used by other composers like Henry Cowell and John Cage in the past. Not only could I make use of a grand piano in 1986, I also had the technical equipment at hand which didn't leave nothing to be desired. I wasn't quite precise calling these pieces Studien für Klavier (Piano) by the way, as I was actually using a flügel (grand piano). I began preparing the strings in an almost old fashioned way, also producing sounds with unusual aids (electric gastr beater, wire brush, coins and others). Then in another step, with the help of the studio, I carefully started working on the recorded sounds. While doing this, I wasn't even afraid of using some good old avant-garde tricks, by the way. But I won't tell. The fact that Notturno was released by an industrial label, shows how much the interest in unusual electro-acoustic music had grown at the time. In fact, Notturno is nothing less than an industrial album. To my own delight and to the delight of the listeners as well, I used techniques which were introduced in the field of new music since several years already. As a result, Notturno can be seen as a cross between musical styles. On one hand it sounds academic, but in fact it isn't. But the question whether this was U (popular) or E (serious) was obsolete anyway, as electro-acoustic experiments didn't exclusively belong to the circle of serious composers anymore. Of course I wasn't the first or only non-academic composer who produced music, which couldn't be categorized easily then, and maybe even still not until today. As a result, the exchange of these new aesthetic strategies with other musicians and listeners in the mid-'80s, further encouraged the musicians to produce such music, and as a result, labels such as Discos Esplendor Geometrico could be sure to sell a small edition of 500 copies in a fairly short time. The ears had opened up for this genre-crossing music and the heads were ready to accept. We had succeeded breaking new ground." [label info / liner notes]
"....Following 'Formen Letzter Hausmusik' and 'Hydrophonie', 'Notturno' was the third 'serious' attempt in composing more serious electro-acoustic music, and Tietchens limits himself to using the (grand) piano. In a good tradition, say starting with Cage's prepared piano, Tietchens treats the inside and outside of the piano with objects, like an electric gastr beater, wire brush, coins and others, but unlike Cage it's for Tietchens only a starting point. The recordings are processed in the studio, in no doubt true Tietchens style. Looping the sounds around, filtering through sound effects and synthesizers, after which they finally find their form in neatly constructed pieces of music. To use loops as to the extent that Tietchens does is something that sets him aside from the regular musique concrete composers. At the time for many, yours truly included, this was the first introduction to the more academic music, while now, we hear a record that is certainly a great one but perhaps not so academic as we thought back then. 'Notturno' is one the best Tietchens works that one can encounter and the mastering is much improved over the first edition on CD. While many seem to think that Tietchens music is quite distant and cold, 'Notturno' combines playful melodies and sturdy processing of the material. Certainly one to get if you are only remotely interested in his work." [Vital Weekly]
www.diestadtmusik.de
|
2007 |
€15.00 |
|
|
Aus Freude am Elend |
CD |
Wohl eine der ungewöhnlichsten & schönsten Tietchens-Alben, die augenzwinkernde Verwendung von vokalem Material war hier der Fokus, found sounds & field-recordings werden eigentümlichst verfremdelt, aus Schlager- oder Volksliedern die abartigsten Töne rausgekitzelt, absolut unkategorisierbare Klänge entstehen... ein wunderbares-wundersames Re-Kontextualisierungs-Projekt! JA WIR LIEBEN ES! 2 Bonus Tracks!
"11th part in the ongoing re-release series of all early Tietchens albums between 1980-1991. AUS FREUDE AM ELEND is based on the human voice as a primary sound source and was originally released in edition of 500 copies on Dom America in 1988. The CD includes two previously unreleased tracks and comes in a jewel case with full color artwork and poster booklet also feat. the original front and back cover. First edition of 600 copies.
Asmus Tietchens AUS FREUDE AM ELEND (Dom America Dom US LP 02) 1988 "Following my research of piano and water sounds (DS102, DS88) it didn't come as a surprise that my next project was about the human voice as a sound source. The great masters of Plunderphonics already showed the way in the early 80's, when they plundered the gigantic junk-shops packed full of already recorded material, which was stolen by them to use it for their own aesthetic targets. This album only consists of such stolen goods. Each track (with the exception of 'In memoriam P.F.') was based on voices of people who I naturally didn't ask their permission to use these recordings in the first place. So you can hear the voices of ecstatic religious people as well as other people making love. You'll also hear someone singing to Annette and Peggy out of the trash bin of a publishing company. Even the screams of furious teachers came in handy while I made loops from them. Especially loops: Rarely before this album and only once after it (on Stupor Mundi) did I made use of the structural means of loops to such an extent. I was fascinated by the rhythmical and harmonic permanence, in the same way as many of my musical colleagues at the time. The aspect of the 'Ritual' was a self-evident common formulation in difficult music during the 80s, so loops and tape voices, monotonous rhythms and LoFi became obvious means to shape the music. AUS FREUDE AM ELEND too was strongly spiced with these ingredients and therefore can be seen as a prototype album of this specific view of music during the time. This tendency was supported - even partly inspired - by a new generation of sound machines, which also made it possible for new aesthetic goals to appear at the horizon. The 90s were near at hand and sound art music would develop drastically in many ways in the years to follow. Samplers, digital editing, hard-disc recording and the first PC's opened new doorways. Half of the material on AUS FREUDE AM ELEND was already created with these digital tools. I never quite understood how the labels Dom America (run by Jon Carlson) and Dom here in Germany were connected. Did Carlson used to be a fan of Dom which was founded by Christoph Heemann and Achim Flaam. Did he simply liked the release politics of this label. And what became of Dom America ? Actually I don't know. I guess it was one of the small enthusiastic independent labels which released a handful of titles and which disappeared after being active for a couple of years during the 80s. However AUS FREUDE AM ELEND had vanished shortly after its release. I only used 'stolen' voices twice again ('Stupor Mundi', 1990 and 'Das Fest ist zu Ende. Aus', 1993) after this album by the way." [label info / credits]
"... Much like some his previous records, most notably 'Formen Letzer Hausmusik' and 'Seuchengebiete', its foremost a work of electro acoustic or musique concrete. There is an element of repetition that one wouldn't easily spot with the original 'masters' of the genre, but Tietchens uses them in his own, highly personal, way, adding his own fine blend of electronics and in order to make a creepy sound, a sinister play of vocals. The people whose voices are used sound like they are singing in a far away cage, in isolation, a cry to get out. After all these years this record hasn't aged at all, and is a highlight in Tietchens career." [FdW / Vital Weekly]
|
2008 |
€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 |
|
|
Abfleischung |
CD |
Auch "Abfleischung" gehört zu den "irgendwie legendären" TIETCHENS-Alben (1989). Das tolle Cover, die Titel, das unglaubliche CIORAN-Zitat, das alles ist "klassisch Tietchens" und noch immer gibt es wenig Musik die sich daran messen kann, noch immer klingen diese 20 Skizzen (zum ersten Mal recyclete TIETCHENS altes Material seiner selbst) so rätselhaft nicht-menschlich wie von einer gänzlich fremden Welt stammend. Collagige Cut-ups, teils flächig unterwandert, elektronisch verfremdet bis ins Deformierendste hinein und doch mit Blick für jedes kleinste Detail des Klangs, dabei sind die Tracks so kurz dass die Aufmerksamkeit nie versiegt, der Geist hat keine Chance zur Routine, nur zur Fokussierung....
"12th part in the ongoing re-release series of all early Tietchens albums between 1980-1991. ABFLEISCHUNG is based on material recorded by Tietchens as early as 1967-1970. These recyclings made in 1989 became the 20 short tracks on this album which was originally released in edition of 500 copies on Hamster Records in 1989. The CD includes two previously unreleased tracks and comes in a jewel case with full color artwork and poster booklet also feat. the original front and back cover. First edition of 600 copies. Total playing time: 49:18 min." [label info]
"....It was released in 1989 on Hamster Records as part of a four record series: 'Watching The Burning Bride', by Asmus Tietchens and Terry Burrows (owner of Hamster), then 'Abfleischung' by Asmus solo, then 'Whispering Scale' by Terry solo and the fourth one 'Burning The Watching Bride' (by the two of them again) was released in 1998, on Disaster Area. On 'Abfleischung' Tietchens goes back to his old reel to reel tapes from the period 1967 to 1970. Not a remix where one particular sound is remixed but the track in its entirety is reworked. Asmus calls this 'recycling', a much more appropriate word for what he does. He uses the techniques of 1989 to recycle the sounds of twenty years before. No less then twenty pieces are presented on this album (plus two bonus pieces) which last from forty-eight seconds to almost five minutes, but mostly between one and two minutes. Short pieces which were change for Tietchens too. Different methods of treating of the basic material, lead to a variety of similarly titled pieces, such as Mineral 1 to 4 and Modal 1 to 5. This album shows Tietchens at his peak of musique concrete, working with a limited set of sound in a limited frame of time. A fascinating journey of sound with the crackling of tooth combs, metallic rusty sounds and many more highly obscured sound sources. The only thing that makes this a bit dated is the sometimes excessive use of reverb, which perhaps in those days made a lot of sense, but not these days - at least not with me. But throughout a very well needed re-issue on CD." [FdW, Vital Weekly] |
2008 |
€14.00 |
|
|
Nachtstücke |
LP |
"Nachtstücke owed its publication to former Tangerine-Dream member Peter Baumann,who was asked by the French label Barclay/EGG to produce three albums focussing specifically on
German electronic music. He was working with Hans-Joachim Roedelius at the time, who had been given a few Tietchens tracks on cassette. When Baumann heard Roedelius play them in the studio during a break in proceedings, they sparked his interest and he met up with Tietchens some time later; they agreed that he would go over the material again and edit or abridge it in places. A release date was pencilled in for the latter part of 1978. The commissioning label, however, doubting the commercial potential of the project (Tietchens: “How right they would turn out to be”), postponed the release and had to be reminded of contractual commitments on more than one occasions. When the Nachtstücke LP finally
appeared, almost two years later, it bore the unauthorized subheading Expressions et Perspectives Sonores Intemporelles and
featured a completely different cover. Originally, the album was to depict a leathery embryo with a laser beam shooting through its eye (Tietchens: “I liked the idea of sta
rting with something so gruesome”), but now three blurred figures danced on the sleeve: “I was pretty disgusted when I opened the package containing my copies”, Tietchens reports, taking the rerelease as his cue to create
completely new artwork.
Nachtstücke has surprisingly little in common with the pseudo-pop of the ensuing Sky Phase, but shines a light further ahead to the
gloomy, spectral aspects of Tietchens’ later works. Created between 1975 and 1978, the
Nachtstücke pieces reveal a deliberate
approach, avoiding dissonance and discord wherever possible. Still, the release saw the album “fall right out of time” as Tietchens frankly admits: “Gentle rhythm and harmonic beatitude did not suit the concert of advanced pop music as it was then being played.”
Nevertheless, the Nachtstücke tracks remain important to the artist, as they document his early encounters with the Moog Sonic Six and
Minimoog. With this in mind, the material is presented here in its original, unadulterated form." [label info]
www.bureau-b.com
|
2014 |
€19.50 |
|
|
Humoresken und Vektoren |
CD |
"CD in full colour digipak with photos by Okko Bekker and Asmus Tietchens. Production: Okko Bekker. Recorded at Audiplex Studios Hamburg in 2012. 16 tracks of new material. 500 copies.
On „Humoresken und Vektoren“
„Humoresken und Vekotren“ takes up a work that was started upon the invitation of Francisco Lopez for the spanish Störung label. The task was to deliver thirteen 2-minute original compositions for a compilation release. “Humoresken und Vektoren” recycles these miniatures from 2010 and unfolds it into eight new works having no resemblance with the original sourcings whatsoever. These eight tracks are bound together by eight short pieces entitled “Tristia” that function as bridges between the longer pieces. “Humoresken und Vektoren” is a combination of very dynamic and detailed sounds and a range of delicate layers and abstract textures. The CD features very surprising artwork unlike most recent Tietchens releases.
Asmus Tietchens writes:
Vier Humoresken, vier Vektoren und alle Stücke getrennt durch jeweils eine kleine Traurigkeit: Tristia, Die allerdings in gleich acht Varianten. Im 19. Jahrhundert wurden ohne Ende Humoresken komponiert.
Ich habe nie begriffen, was an diesen Stücken lustig sein sollte. Im 20. Jahrhundert gab es eh nichts mehr zu lachen, also wurden auch keine Humoresken mehr komponiert. Das 21. Jahrhundert scheint zum Schreien komisch zu werden, also habe ich vier Humoresken komponiert.
Wahrscheinlich wird kaum jemand heraushören, was an ihnen lustig ist.
Vier Vektoren geben zwar definierte Richtungen an, aber solange die Koordinaten nicht bekannt sind, zielen sie ins Nichts. Solche Vektoren zu betrachten, ist ebenso ergiebig, wie den Bereich zwischen Null und Eins zu untersuchen. Und vielleicht sind die acht kurzen Tristia- Stücke ja die eigentlichen Humoresken? Und die Vektoren ein wenig traurig? Und die Humoresken führen nirgendwohin?" [label info]
www.aufabwegen.com
|
2014 |
€13.00 |
|
| |
Parergon |
CD |
" “Parergon” (Greek ‘collection of small texts’) is the sequel of the idea to continue to recycle recyclings of recyclings. That does not mean remixes or deconstructions but much more genuine compositions derived from already repeatedly recycled structures. In the future the new compositions, too, will be transformed by recycling into totally new music. This approach is in no case hermetic because no circular course happens: There is no way back to the beginning. With digital tools – but w i t h o u t chance operations – one can achieve treatments and processings which lead to a nearly endless multitude of esthetic relevant compositions derived from once defined basic structures. In this connection ‘sampling’ is not of importance. -
The pieces of “Parergon” do not intend to provoke pictures or moods, but will give the listener simply something to listen to – it is up to him how he handles this offer. In consequece the pieces have no titles. Instead they have index data which point to certain series. -
“Parergon” has been composed in dark times, but at the best only the artwork reflects this conditions. The sounds themselves come from the vacuum." [Asmus Tietchens, 2016]
|
2016 |
€13.00 |
|
| TIETCHENS, ASMUS & RICHARD CHARTIER |
Fabrication |
do-CD |
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 |
€18.50 |
|
| TIETCHENS, ASMUS + CV LIQUIDSKY |
Monoposto |
CD |
17th and final part in the re-release series of all early Tietchens albums between 1980-1991
Originally released on Dragnet, Dom Elchklang in 1991. This new version incl. 3 Bonus tracks and is another joint release by German labels Die Stadt and aufabwegen. Jewel case with full color artwork and poster booklet also feat. the original front and back cover. First edition of 600 copies.
Track listing:
1. 'Junge Hoden' 3'01
2. 'Drangsal am Hauptbahnhof' 3'09
3. 'Der Appelbeker Kreis' 3'14
4. 'Schlotzen' 2'47
5. 'Mit dem Zombiebus ins Totenreich der Killermumien' 10'07
6. 'DDR' 4'01
7. 'Frauenhygiene' 3'12
8. 'Vergessene Jungens' 3'40
9. 'Einfach Helden' 3'09
10.'Aus heiterem Himmel'2'07
Bonus tracks:
11. 'Prinzip Hoffmann' 2'49 12. 'Schwachholz vorsetzen' 2'06 13. 'Liquidsky spricht' 0'22
Asmus Tietchens + CV Liquidsky 'MONOPOSTO' (Dragnet & Dom Elchklang, Dradomel 03) 1991
It was just before the end of the so called heroic times when CV Liquidsky and I decided to record a studio album together. Almost a bit late considering that Liquidsky had already lived and worked in Hamburg since 1979. Our ways had crossed many times and a mutual friendship developed. Actually we discussed a possible collaboration several times. Liquidsky was a graphic designer, journalist, musician and someone who really moved things in all these areas. I got to know Liquidsky's musical side as him being one half of the industrial music duo 'Cinema Verite', and at the same time through his journalistic skill's, writing excellent reports about the Hamburg and International music and cultural scenes. As a trained artist he also did record covers and posters, illustrated Fanzines and created some disturbing free works. It was no secret that his chosen artist name derived from both ,Cabaret Voltaire'(CV) and 'Liquid Sky'(Liquidsky). His real name was Andreas Hoffmann. The recordings for 'Monoposto' were made between 1988-1990. The mention of the years 1981-1990 on the cover was deliberately misleading. Our work scheme was to try and record one track per nightly session, and when ever we met in the studio we clung to this strict working method. It was our intention to avoid making a perfect studio album. Improvisation, chance, errors and spontaneous decisions were the game plan. After a track was recorded it was mixed the same night or even early the next morning, so it was finished. No softening out and no corrections were made, no matter if the raw diamonds we created started to shine or not. It was Liquidsky (the "mover") who persuaded me to accept this almost Dadaistic concept, as I'm basically someone who takes longer to create a track. He concentrated on his guitar and myself on the electrical treatments. Later a good friend of ours described the music as a mixture of apathy and ecstasy, beauty and ugliness. In fact I never worked on an album with such a melancholic note before or ever after. The cover was created by Liquidsky within a couple of hours. The word 'Monoposto' has actually no meaning. It's a Blindtest to show the actual look of a certain typography common in the analog world back then. Liquidsky was fast and he always stood on the right side. Andrea Hoffmann died on 6th of September 1998.
Editorial notes:
All recordings were transferred from the original tapes, but in a different order than on the LP. The title 'Mit dem Zombiebus ins Totenreich der Killermimen' on the original album is actually written incorrectly. The corrected title is 'Mit dem Zombiebus ins Totenreich der Killermumien'. The track 'Liquidsky spricht' was taken from the compilation 'Das digitale Vetrauen' (Soleilmoon, SOL 54)." [label info]
diestadtmusik.de/DS120.html
"Die große, 2003 begonnene 18-teilige Wiederveröffentlichungsreihe von Asmus Tietchens’ früheren Arbeiten kommt mit Nummer 17 langsam an ihr Ende; in einer erneuten Zusammenarbeit veröffentlichen Die Stadt und Auf Abwegen das mit CV Liquidsky zwischen 1988 und 1990 entstandene und ursprünglich 1991 erschienene Album „Monoposto“.
In den Linernotes schreibt Tietchens, dass er Andreas Hoffmann, so der bürgerliche Name des 1998 verstorbenen Musikers, Journalisten und Graphikers, schon lange kannte, bevor sie sich endlich dazu entschlossen, ein gemeinsames Album aufzunehmen. Es sei nicht darum gegangen, ein „perfektes Studioalbum“ aufzunehmen, sondern „Improvisation, Zufälle[...], Fehler[...] und spontane[...] Entscheidungen“ hätten eine wichtige Rolle gespielt. Das führte dazu, dass die einzelnen Stücke recht schnell entstanden und noch in der gleichen Nacht gemischt wurden. Nichts weiter wurde mit den Aufnahmen gemacht.
Das Zusammenspiel von Liquidskys Gitarre und der elektronischen Bearbeitung von Asmus Tietchens führt “ zu ganz unterschiedlichen Ergebnissen. Insgesamt ist „Monoposto“ allerdings ein stark von Wiederholung geprägtes Album, wie gerade der fast schon rhythmische Opener „Junge Hoden“ mit seinen immer nur leicht variierten Loops zeigt. Ähnlich konzipiert scheint „Drangsal am Hauptbahnhof“, das mit seltsamen kreischenden Passagen im Hintergrund etwas düsterer und variabler ist. „Mit dem Zombiebus ins Totenreich der Killermumien“, vielleicht der Titel eines verlorengegangen Drehbuchs von Don Swan, ist eine anfangs verrauschte, fast schon nach Ambient klingende Nummer mit dunklem Dröhnen und leichtem Pochen. Auf dem verglichen damit profan betitelten Track „DDR“ hört man Loops, Heulen und Dröhnen, seltsame Stimmen und im Hintergrund eine Hymne. “Fraueninnenhygiene” hat eine merkwürdige Westernatmosphäre, „ Auf „Einfach Helden“ glaubt man ein dissonantes Klavier zu hören und das Stück „Aus heiterem Himmel“ ist ein Cover von Neil Youngs „My my, hey hey (Out of the blue)“, das im Original die legendäre Zeile „It’s better to burn out/Than to fade away “ enthält. In Tietchens’ und Liquidskys Interpretation lässt sich das Original durchaus noch erahnen, von der Herangehensweise passt es aber gut zum Rest des Albums.
Stampfende, primitive Rhythmik hört man auf den Bonustracks „Prinzip Hoffmann“ und „Schwachholz vorsetzen“ und gerade diese Tracks situieren dieses in Passagen monotone und ruppige Album durchaus an den Rändern des Industrials. (MG)
|
2020 |
€15.00 |
|
| TIETCHENS, ASMUS / OKKO BEKKER |
E |
CD |
"The term "E-Musik" is not used to denote "electronic music", as one could be led to believe. Rather the E stands for "earnest" music or a music that is to be taken seriously, even more so as composers of this genre tend to be focused on their salary. Whether the distinction between E- and U-Musik, that mainly exists in the german speaking territories, is to be rendered a useful one, Bekker/Tietchens try to explore on their 1988 release E. They do this by appraoching some stylistic variation of so-called E-Musik in their own terms. What we hear ranges from soviet realism via dodecaophincs through to minimal music and free atonality. The meeting of Bekker and Tietchens and the results of their encounter on this album are all the more remarkable because Tietchens is an exponent of non-academic electronic music and Bekker works in the field of F-Musik, whose social acceptance is way below that of U-Musik. F-Musik stands for "functional music" and describes a type of music no one really wants to listen to. Usually upon playback the irritated listener tries to lower the volume approaching zero. Thus the title "Musik Im Deutschen Imbiss (short: MIDI)" - while being totally neglected both by music sociology and musical aesthetics - might well prove to be an example a valid analysis for compositional challenges that mights be solved on a future album entitled "P". Strictly speaking Bekker and Tietchens know New Music only by hearsay and through occasional visits of concerts in broadcasting houses or other remote locations. That they tried to formulate a somewhat partial typology of New Music regardless, is due to their enthusiasm and juvenile furor. It is not a product of their actual knowledge of the subject." (Tro Khan) comes in jewel case with full colour poster booklet, reproducing the original artwork plus new photograph and liner notes by Tro Khan, plus both tracks from the bonus 7" U, plus 2 unreleased bonus tracks from the period. edition of 600 copies
www.diestadtmusik.de
"The reissue campaign of the early works by Asmus Tietchens continues, here with a 1988 recording with long-standing collaborator Okko Bekker, originally released on Dom, now sporting four bonus tracks not on the original. Intentional or otherwise, E parallels much of the library music that was being quietly generated in institutional electronic studios across the globe, jumping thematically from pre-serialist melodicism played on period-specific digital sampling keyboards to Eno-esque avant-pop electronic numbers with a few forays into thoroughly abstracted / splintered sound collages and way out saxophone improvisations.
E was always an eclectic record and one that seemed out of place next to Nurse With Wound or HNAS; but in a context of Ghost Box relocating the KPM catalogue for themselves and those digging into the not-quite-new-age electronics of sci-fi exuberance and baroque horror synthesis (e.g. K. Leimer, Craig Leon, Laurie Speigel, etc.), this album will definitely bring delights in its fancifully cheeky electronic simulacrum." [Aquarius Rec.] |
2015 |
€14.00 |
|
| TOMKINS, KEVIN |
Her Favourite Distance Was That Between A Cough... |
CD |
"Kevin Tomkins is best known for his work in Whitehouse and his own group Sutcliffe Jugend, now called Sutcliffe No More. He also worked with Bodychoke, Inertia, and Patient K. Most of his music has its background in the power electronics scene that evolved in Great Britain around the label Come Organisation and the group Whitehouse. Power electronics is a style of noise music that typically consists of static, screeching waves of feedback, analogue synthesizers making sub-bass pulses or high frequency squealing sounds; with screamed and distorted vocals. The genre is noted for its influence from industrial. It is generally atonal, like most noise music and also features a lack of conventional melodies or rhythms. To match its sonic excess, power electronics relies heavily upon extreme thematic and visual content: whether in lyrics, album art, or live performance actions. For his solo work, Kevin sometimes uses a very different style to his group work. An autoharp or chord zither is a string instrument belonging to the zither family. It uses a series of bars individually configured to mute all strings other than those needed for the intended chord. In summer 2023, Kevin played a rare solo show in Vienna at Klanggalerie's 30th birthday bash. It was based on his autoharp album using that very instrument plus voice and an arrangement of gimmicks and tools. A week later, he created an album based on the performance and his time in Vienna."
Dokument eines der sehr raren Liveauftritte von Whitehouse- und Sutcliffe Jugend-Mastermind Kevin Tomkins (2023, 30 Jahre Klanggalerie Festival Wien) als CD im Digipack auf Klanggalerie. Am bekanntesten durch seine Arbeit mit der Power Electronics-Legende
Whitehouse oder mit Sutcliffe Jugend, steht Kevin Tomkins vor allem für atonale und schroffe Musik, die durch pulsierende Analogsynthesizer rhythmisiert wird - extrem bis hin zu den visuellen Aspekten wie Artworks
oder Bühnenshow. Doch mit seinen Soloprojekten folgt der Brite schon lange einem freiern und avantgardistischen Ansatz. Mit seinem aktuellen Studiowerk "Music For An Unprepared Autoharp" widmete sich Tomkins der
obskuren Kastenzither Autoharp, auf der sich per Tastatur ganze Akkorde bilden lassen. Genau wie auf dem Album entlockte er beim Wiener Auftritt zum 30. Geburtstag seines Labels dem Instrument mit unkonventioneller Spielweise Drones, Melodien und Obertöne. Seine Stimme du weitere Hilfsmittel und Effekte ergänzten die Aufführung. Aus deren Audiomitschnitt und Eindrücken seines Aufenthalts in Wien entstanden die hier vorliegenden
experimentell-ambientesken fünf Tracks.
|
2023 |
€15.00 |
|
| TORBA |
Musique Inconcrete |
LP |
After the quickly sold out »Ggràn« cassette, released on Fragment Factory in 2016, we are very happy to welcome back the Italian sound artist Mauro Diciocia aka Torba for his 2nd contribution to the FF label catalogue. »Musique Inconcrète« is the follow-up to »Musica Conventionale«, released earlier this year on his own Edizioni Aaltra imprint, and marks the second installment in a trilogy of related recordings, informally named »Le Musiche«. While being active in the field of contemporary sound art and noise music for more than a decade, Diciocia has produced a whole lot of mostly small run cassette releases. This LP is Torba's first and long overdue full-length album for the vinyl format.
While Diciocia's latest work is far from being composed in classical terms, the concept behind the album revolves around the idea of sketch or annotation. Or better still: The inconcrète. A semi-false (or semi-correct) french word, used to undermine the consistency of the french Musique Concrète tradition in a rather light-hearted manner. During the conception of this album, MD was strongly influenced by the work »Incompiuto - The Birth of a Style« by the Italian contemporary art collective Alterazioni Video. They loudly claim that Incompiuto – the unfinished – is the only Italian art style of some significance in the past 50 years: "The term ‘incompiuto’ refers to the architectural and infrastructural works whose construction has been halted, and which can be witnessed throughout the entire Italian peninsula. They are all publicly funded, and for a variety of reasons (design errors, political decisions, inaccurate cost estimates, contractors' bankruptcies, evident disregard of building regulations, the disappearance of funds, etc.) their construction has been interrupted, leaving behind a series of ruins in reverse.” (Alterazioni Video)
Far from any reference to post-architecture or mafia-political controversy, the final output of »Musique Inconcrète« is a macro cut-up of sound-screens reorganized as quasi-organic narration: Fragments of unfinished compositions, roughly assembled according to a mere aesthetic criteria. Beyond the sporadic use of oscillators and a few inserts of other people's music manipulated on ¼-inch tape, the whole LP is made out of field recordings collected in the region of Salento in southern Italy, where Diciocia is currently living. All environmental sounds were captured with common consumer electronics (walkman and mobile phones) in order to give back the domestic feeling of an abandoned opera. Speaking of geography, the first track Lapjèdr Fòr is the only exception. Intended as an introduction to the whole narration, it testifies MD's emotional and non-linear journey back from Germany, where he spent about eight years, to Southern Italy: It contains a clashing mix of recordings made in Berlin and around the seaside of Torre Lapillo.
The pictures for the artwork of the album were taken by the photographer Gabriele Albergo, whose perpetual-in-progress project »Salento Death Valley - A Black Diary of the Most Beloved Italian Peninsula« aims to deconstruct the touristically idealized image of the region through the serial production of what he calls anti-postcards.
Edition of 300 copies on black vinyl.
https://fragmentfactory.bandcamp.com/album/musique-inconcr-te
"Many of the sounds on Musique Inconcrète are thin, threadlike, fibrous, like amplified insect legs or the metallic rustle of uncut guitar strings. Usually such a description would apply to an album with much more sound processing and alteration involved in its construction, not a work that relies as heavily on mostly unmanipulated field recordings as this does, but the singular vision that audio collage maestro Mauro Diciocia (a.k.a. Torba) has adopted for Musique Inconcrète is unconcerned with “usually.” The six tracks on the LP are true sonic sketches, a structure he borrows from the Alterazioni Video collective’s tradition of Incompiuto—the incomplete. Diciocia warmly embraces a state of unfinishedness, fully content to explore acoustic settings and movements with qualities that might often be cited as weaknesses: insubstantiality, choppiness, frailty. He uses the aforementioned field recordings—most of which were captured in southern Italy—as fragile canvases for his sketches, their beautifully mundane soundscapes both contributing their own unique textures to the music as well as serving as a base for quiet interjections of buzzing static; occasional and very choice musical samples; and other oddities. The recordings themselves are often shaky and unstable, an effect that’s achieved via either subtle processing or the recording medium itself; Diciocia chose to use basic electronics like small tape recorders and mobile phones to evoke “the domestic feeling of an abandoned opera.” Such careful efforts to fully adopt an intentional lack of polish or seamlessness make Musique Inconcrète not only a fascinating and thought-provoking release but also more lush and well-realized than one could ever think possible." [Noisenotmusic]
"Wenn das neue Torba-Album ein Pendant in der Welt der haptisch erfahrbaren Artefakte hat, dann ist es die Ruine – ein Phänomen, welches das Künstlerkollektiv Alterazione Video jüngst am Beispiel unvollendeter Architektur und Infrastruktur untersuchte, an verschiedenen Konstruktionen, die aus Geldmangel, wegen technischer Probleme, politischer Planänderungen und ähnlicher Gründe Fragment bleiben mussten. In der dazu entstandenen Studie wurden sie als die bedeutendsten Kunstwerke des heutigen Italiens bezeichnet.
“Musique Inconcrète”, erneut eine Reihe an feinsinnigen Cut-Up-Kollagen, wurde stark von diesen Überlegungen getriggert und setzt sich aus eher spontan zusammengesetzten Komponenten zusammen, denen man ihre Fragmentiertheit anmerkt. Benannt hat Torba das Resultat allerdings nicht nach dem Unvollendeten, sondern nach dem “Inkonkreten”, was eine ganze Reihe weiterer Bedeutungsnuancen eröffnet.
Im Vergleich zur One Track-CD “Musica Convenzionale”, dem ersten Teil der losen Reihe “Le Musiche”, erst recht aber zu früheren Veröffentlichungen, sind die sieben Tracks des neuen Longplayers noch ein ganzes Stück dezenter, andeutungshafter und ungreifbarer: Mikrosequenzen, deren Soundmaterial diffus an Zikaden, Straßenlärm, Sinustöne, Wind und Wasser und zwitschernde Vögel, aber auch an jazziges Basspiel erinnert, eine Viel-, wenn nicht Unzahl an per Telefon aufgezeichnetem Material, dazu Songzitate und immer wieder dezente Manipulation – all das liegt übereinander, greift ineinander und verschmilzt doch nur soweit miteinander, dass das Konstrukt einer Einheit verwehrt bleibt. Alles verbindet sich gerade so stark, dass die Konturen einzelner Klänge undeutlich und eben unkonkret werden.
Man kann darin freilich eine Kritik an den Ideen der Musique Concrète, oder zumindest das Aufzeigen einer Kehrseite und eines blinden Flecks sehen, betonten die Pioniere dieser Musik doch besonders das Material in seiner wie selbstverständlich angenommenen Abgegrenztheit. Die einzig deutliche Grenze, die Torba hier zieht, ist die des immer wieder überraschenden Schlusspunktes einer Sequenz oder einer Tonspur, womit er an einige seine früheren Tape-Veröffentlichungen anknüpft. Torba ist nach wie vor ein Gelände mit vielen abrupt endenden Sackgassen. Mehr noch als in den opulenteren Stücken wird dies in den zwei minimalistischen “Intermezzi” deutlich, in denen der (teils verfremdete und im Tempo hochgeschraubte) Auftakt einer berühmten Klaviersonate durch ein Szenario verhuschter Sounds getrieben wird. Daran, dass das Motiv immer wieder nach drei Tönen de nova da capo geht, mag man sich gar nicht gewöhnen, und soll es vielleicht auch nicht.
In dieser Spannung, in der die einzige klare Kontur die Evidenz des Unfertigen ist, liegt die Signifikanz und natürlich die größte Herausforderung von “Musique Inconcrète”. Hat man sich daran gewöhnt, erkennt man viel Schönheit in dem Gebräu aus Verkehrslärm, Stimmengewirr und verschwommener Jahrmarktsmusik." (U.S./African Paper) |
2019 |
€18.00 |
|
| TORTURING NURSE |
Il Comunismo doveva morire |
CD |
"il comunismo doveva morire is Torturing Nurse's first Mind Flare Media release. Absolutely devastating, this album is one single track running almost an hour and fourteen minutes long. The band suddenly breaks in from nowhere and immediately begins an assault on your ears, suddenly switching and transitioning to a variety of different power electronics landscapes. The artwork sums it up well, a symbolic representation of a dead politicial system. The back features similar art taken from famous propaganda and manipulated, ending with more political imagery inside and a CD that rests upon a pile of skulls. Without a doubt the harshest thing these guys have ever done. This stuff is powerful and not for the faint of hearing." [label info]
www.mindflaremedia.com
"Why noise from Japan was spectacularly good was that noise as miss-appropriation of western music in post war Japan was where miss-appropriation of the west was paramount, removal of tradition in favor of day glo Elvis's Whiskey made from genuine Scottish grapes and school girls in tartan mini skirts." . discuss.. Or why miss-appropriation has now firmly shifted to China might be the explanation of the ability of Torturing Nurse to take over the incoherence of noise from the great masters of Japan, and that in there inconsequential screaming, noise and feedback is what they do so well, whether from design, pastiche or naivety, it doesn't matter, all is symptoms without any traces, illness without disease, psychoanalysis of sanity, this is a culture which was never part of the monotheistic religions. Judaistic calling which engendered the enlightenment and guilt, Freudian Oedipus or Marxist theory ,T.N. is a superficial image, a simulacra of the west without foundation or introversion, it has nothing to attack or demolish, so is pointless, nothing to solve or cure, the name itself silly lacking any psychosis of western introversion, those bare chested lot who miss mommy, no this is noise as noise for noise from noise and nothing else besides, and 74 minutes which is never enough. All those blokes in Texas half drunk on Budweiser with their effects pedals, guitars and toys should take a listen and weep, no not weep, too much weeping already, maybe then get washed have a shave and get a job at HMV in the local mall, or else take up the dizi, sheng, paigu, paixiao, guan, erhu, zhonghu, dahu, banhu, jinghu, gaohu, gehu, yehu, cizhonghu, diyingehu, leiqin, guqin, sanxian, yangqin, guzheng, ruan, konghou, liuqin, pipa, zhu?????" [jliat/Vital Weekly]
|
2010 |
€13.00 |
|
| TREPANERINGSRITUALEN |
Algir; Eller Algir I Merkstave |
LP |
Trepaneringsritualen return to Cold Spring with an album-long ritual working entitled ᛉᛦ — Algir; eller Algir i Merkstave. On this record — constructed from a series of rituals designated to guide the last ceasing of ᛏᛇᚱᚫ ᚾ ∴ ᚾ ∴ ᚾ — T × R × P is manifest in its most obscure form. Sonically minimal yet devastating in emotional impact, this working lets the listener grasp the last vestiges of Nifl and Múspell, and with them as weapon and beacon traverse the Night. ᛉᛦ reveals a barren landscape where crooked paths lead onward, through soot black veils to a point of radiant light where all that is is Union & Dissolution.
Dedicated to our sister, ᛏᛇᚱᚫ ᚾ ∴ ᚾ ∴ ᚾ.
T × R × P channelled through the forms of ᚦᛟᚦ ᚷᛁᚷ, ᚾᛟᚺ ⩝⚭⩝, and ᛏᛇᚱᚫ ᚾ ∴ ᚾ ∴ ᚾ at the 63rd Link, 4 & Rising, and Zone Rouge December 2017 e.v. — July 2018 e.v. Mastered by Martin Bowes. Artwork by Nullvoid.
___
I tordön rister marken och i ett enda andetag rämnar alla världar. Den arma kropp som en gång med knapphet höll samman faller nu itu, och itu, och itu. Tills varje beståndsdel blir till Ingenting. Likt en vålnad utan hud och blod och anda — utan köttets förtvivlan — kastar jag mig — handlöst och av vanvett vredgad — i ditt vidunderliga gap.
Här, i gudars sotsvarta skymning, där natt och dag förgås, hörs alla ord och stäv för första gången tydligt. Här tar alla vaga förnimmelser sin sanna form och stiger ur ett disigt skimmer.
Här, i alla solars gyllne gryning, strålar tusen — åter tusen, pilar av det mest förblindande ljus, mot en enda punkt. Skapandet, och varandet, och blivandet löses upp där prisman splittrar ljuset. Framför mig syns vägen klar och uppenbar.
Vi Vandrar Vidare
V ∴ V ∴ V
CD in 6-panel digipak
LP - Limited first edition of 500 copies on 180g black vinyl. Printed inner sleeve with reverse board outer sleeve.
Official teaser: youtu.be/8bTlXaUPpzI
https://coldspring.bandcamp.com/album/algir-eller-algir-i-merkstave-csr275cd-lp |
2019 |
€22.50 |
|
| |
Algir; Eller Algir I Merkstave |
CD |
Trepaneringsritualen return to Cold Spring with an album-long ritual working entitled ᛉᛦ — Algir; eller Algir i Merkstave. On this record — constructed from a series of rituals designated to guide the last ceasing of ᛏᛇᚱᚫ ᚾ ∴ ᚾ ∴ ᚾ — T × R × P is manifest in its most obscure form. Sonically minimal yet devastating in emotional impact, this working lets the listener grasp the last vestiges of Nifl and Múspell, and with them as weapon and beacon traverse the Night. ᛉᛦ reveals a barren landscape where crooked paths lead onward, through soot black veils to a point of radiant light where all that is is Union & Dissolution.
Dedicated to our sister, ᛏᛇᚱᚫ ᚾ ∴ ᚾ ∴ ᚾ.
T × R × P channelled through the forms of ᚦᛟᚦ ᚷᛁᚷ, ᚾᛟᚺ ⩝⚭⩝, and ᛏᛇᚱᚫ ᚾ ∴ ᚾ ∴ ᚾ at the 63rd Link, 4 & Rising, and Zone Rouge December 2017 e.v. — July 2018 e.v. Mastered by Martin Bowes. Artwork by Nullvoid.
___
I tordön rister marken och i ett enda andetag rämnar alla världar. Den arma kropp som en gång med knapphet höll samman faller nu itu, och itu, och itu. Tills varje beståndsdel blir till Ingenting. Likt en vålnad utan hud och blod och anda — utan köttets förtvivlan — kastar jag mig — handlöst och av vanvett vredgad — i ditt vidunderliga gap.
Här, i gudars sotsvarta skymning, där natt och dag förgås, hörs alla ord och stäv för första gången tydligt. Här tar alla vaga förnimmelser sin sanna form och stiger ur ett disigt skimmer.
Här, i alla solars gyllne gryning, strålar tusen — åter tusen, pilar av det mest förblindande ljus, mot en enda punkt. Skapandet, och varandet, och blivandet löses upp där prisman splittrar ljuset. Framför mig syns vägen klar och uppenbar.
Vi Vandrar Vidare
V ∴ V ∴ V
CD in 6-panel digipak
LP - Limited first edition of 500 copies on 180g black vinyl. Printed inner sleeve with reverse board outer sleeve.
Official teaser: youtu.be/8bTlXaUPpzI
https://coldspring.bandcamp.com/album/algir-eller-algir-i-merkstave-csr275cd-lp
"After a run of strong albums framed around vocal driven, rhythmic death industrial compositions, Trepaneringsritualen (TxRxP) has chosen to take an abrupt left-hand turn (onto the left hand path?) to deliver an extremely minimalist ritual dark ambient album, thus harks back to an earlier phase of the project. In fact this new instrumental album is so minimal and ritualized in style, it would not at all be out of place on the Aural Hypnox label.
Compositionally this album consists of two lengthy nineteen-minute tracks, each titled with the algiz rune, but noting for the second track the algiz rune has been inverted. To glean meaning from this, in its upturned position, the algiz rune can be interpreted as a human with upraised arms to received the protection, guidance and wisdom from the Universe. But in its inverted position can be interpreted as meaning hidden dangers for the self and the need to reflect and look within as part of the process of gaining strength and connecting with higher self. Yet even with the cover image of the algiz rune formed by tree branches, based on the spartan artwork and text in Swedish, how the algiz runes should be interpreted in context of this album remains unclear.
Sonically speaking the atmosphere is one of bass driven tonal depth and catacombic echo, where blackened washes of archaic drones blend with reverb drenched ritual percussive sounds, including: deep catatonic drum hits; sparse gongs; wailing horns; ritual chimes; singing bowls, low atonal piano notes etc. Yet for all of its apparent minimalism, this album is one that immediately draws you into its sinister clutches and does not loosen its grip for the entire album duration, particularly given the ample tensile sonic elements which keep interest and engagement throughout. Although cut into two separate tracks, the sound effectively plays out at an album length track as the sound between the two pieces bridges the same pace and articulates visions in the mind’s eye of a ritual ceremony being conducted in the falling twilight on the damp forest floor, while tree limbs creak and sway in response to the winds gusting through treetops far above. Also of note is the deep shuddering thud featuring at the start and end of the album album, as if sonically representing the opening and subsequent closing of a ritual cycle.
Prior to the release of this album, perhaps I had assumed that TxRxP would continue to forge ahead with a song-based approach. That impression has been proven to be completed incorrect, but at the same time, ᛉᛦ – Algir; Eller Algir I Merkstave is an exceptional example of minimalist and strongly meditative ritual dark ambient music, and completely takes me back to the earliest days of when I started listening to this type of music. Recommended." [Noise Receptor]
|
2019 |
€13.00 |
|
| 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 |
|
| |
Say Goodbye to the Wind |
Shelter Press 139cd |
The Palermo born, Munich based composer, Valerio Tricoli, has forged a singular path within experimental sound practice, continuously rethinking the relationship between electroacoustic composition and narrative possibility. Say Goodbye to the Wind is his first album with Shelter Press. Across three intricate, deeply personal works of concrète music, the composer blurs the boundaries between the tangible and abstract, weaving complex allegories for the self. Most commonly created on a RevoxB77 reel-to-reel -- manipulating, live sampling, and real-time editing/mixing of field and studio recordings -- in Tricoli's hands, estranged moments of sonorous ephemera transmogrify and intertwine as metaphorical and allegorical sums, far greater than their parts. The title of Tricoli's sixth full-length is taken from a story by J.G. Ballard, set in the desolation of a holiday resort that rests among a landscape of endless rolling dunes that are populated by "sound sculptures" and monsters. Historically, one of the primary pursuits of musique concrete is the transformation of everyday sonority into abstractions of profound meaning and weight. While this process unquestionable played a heavy hand in the composition of Say Goodbye to the Wind, Tricoli's approach to the idiom sets the stage for something entirely unique. Not only are the practices of tape music applied to field recordings, but to the sounds of piano, synthesizers, objects, and the composer's voice, in addition to interventions by Ecka Mordecai (cello), Lucio Capece (soprano saxophone), and Ida Toninato (vocals). "Lo Spopolatore", draws its title from Samuel Beckett's short story Le Dépeupleur (The Lost Ones). Tricoli's work weaves together a multitude of sonorous fragments: field recordings, voice, and diverse instrumentation. "Mimosa Hostilis" -- the name of a Brazilian plant which contains DMT -- begins with same recording as its predecessor, made of his son's breathing, a few months after his birth, in the Sicilian sea wind. Here, Tricoli treats his sources with pointillistic precision, intermingling vocal and minimal instrumental gestures into a polyrhythmic patter that transforms commonplace sonority into aural echoes of wind, rain, the shadowy species within. The title of "De Vacuum Magdeburgicus" is taken from the name of the first paper published by Otto von Guericke, a 17th century, German scientist, inventor, and politician. While no less oriented around the abstract possibilities activated by field recordings, "De Vacuum Magdeburgicus" is the album's most explicitly musical work. Warbling instrumental sounds and vocal interventions, bent by the hand tape manipulation, push toward heightened states of drama and tension, pushing and pulling against a vast pallet of textures drawn from the natural word and beyond. Artwork by Mårten Lange. Mastered by Rashad Becker.
https://shelterpress.bandcamp.com/album/say-goodbye-to-the-wind
|
2022 |
€18.50 |
|
| TROUM |
Symballein |
CD |
Sechs Stücke aus der Frühphase von TROUM, erschienen auf obskuren & raren Compilations im Zeitraum 1997 - 1999; dunkel, dronig-morastig, tieffrequent, von massiver Konsistenz, post-industriell, jenseitig ...am ehesten zu vergleichen mit der ebenfalls damals erschienenen Debut-CD RYNA.
"...alle sechs sind gute beispiele für die "kl_F/B-S/comp-Theorie", bilden trotzdem ein fast perfektes gesamtwerk und zeigen troum durchweg von ihrer düsteren seite; kavernenartig, rhythmen durch meterdicke wände gefiltert, stimmen aus der zwischenwelt. ein stärkerer kontrast zur aktuellen, dagegen fast leichten A.I.W.S. erscheint kaum möglich......
ps: die "kl_F/B-S/comp-Theorie", deren erste erwähnung hier nicht mehr eruiert werden kann, stellt die (unbewiesene) vermutung in den raum, dass bands kleinere Formate/B-Seiten/compilation-Beiträge gerne dafür nutzen, ein wenig abseitigere tracks zu platzieren. neben dem wunsch, auch mal über die eigenen stränge schlagen zu können, der experimentierlust zu frönen, wird vermutet, dass zum teil auch stücke dergestalt eine heimat finden, die aufgrund von laufzeitbeschränkungen der veröffentlichungsmedien in vorhergehenden releases gekippt werden mussten.
psps: und des wird zeit, endlich einmal small voices aus italien zu loben; allgemein + besonders und jetzt besonders wegen der coverartworks: hier strukturpappe-aufklapper mit schlitz zur cd-aufnahme: eine weitere perfekte annäherung an das lp-cover als die sowieso perfekte verpackung." [n, Unruhr.de]
"Symballein" is the second TROUM releases on SmallVoices label after the well ... "Autopoiesis" LP picture disc (SVV001) actually SOLD OUT. This album is a collection of very rare material, from the very beginning of Troum (period: 1997 - 1999). As Troum meaning the music is dreamy... The concept of the ‘Dream’ is the common thread running through Troum; the name, the music and the philosophy. For not only is TROUM the old German word for "DREAM" but, according to their website, ‘the dream, seen as a central manifestation of the unconscious, symbolizes the aim of TROUM to lead the listener into a hypnotizing dream-state of mind, a pre-verbal and primal consciousness sphere. TROUM uses music as the direct path to the Unconscious, pointing to the archaic "essence" of the human’s inner psyche. TROUM tries to create music that works like a direct transformation of unconscious matter’.
In Symballein dreams are obscure and indecipherable..., in one word nightmares; the music is archaic and droney, with multi-layered guitar drones..., oneiric ambient industrial nearly to Maeror Tri best releases. The disc in packaged in a elegant and luxurious embossed cardboard digi-sleeve. Symballein: "perceivable & non-perceivable things fall into one" [label press release]
|
2007 |
€10.00 |
|
|
Ljubimaya / Daur |
CD |
CD-Wiederveröffentlichung zweier bisher nur als 10" Vinyl erschienenen Mini-Alben; DAUR ( 3 tracks) erschien 1998 auf dem KIRCHENKAMPF-Label COHORT und enthält allerfrühestes TROUM-Material bzw. Aufnahmen aus der Zeit entstanden "zwischen" MAEROR TRI und TROUM als der weitere Status des Projekts noch unklar war.
Von DAUR gab es 300 Kopien auf blauen Vinyl in einem merkwürdigen Kork- & Alu-Cover, ein kleiner Teil der Auflage (24 Stück) kam in einem Aluminium-Gitter Cover. LJUBIMAYA war eine frühe WAYSTYX-Veröffentlichung (2003( mit ebenfalls drei Stücken... für das re-issue gibt es eine neue Coverartwork von HUM, Auflage 500 Stück.
"Reissue of two 10" from the years 1998 and 2003. Daur is the very first release of TROUM and it resents very post-rock sounding material wth a lot of decipherable guitar parts and good drive. Ljubimaya was released by the Russian label Waystyx and carries you towards lyrical and touchy eternity of everbeginning melodies without an end, into emptiness of existence with all the uterine roar provided by YEN POX project in one of the tracks. The covers uses psychodelic image manipulations by Dmitri "HUM" Chistov" [press-release]
"Troum means dream, and dream is a symbol for unconscious. Just like a daydream, this music can drive us to very deep, out of mind control domains from emotional side. Floating, blurred soundscapes takes you to the limits of everyday life. The enigmatic non-being, unreacheable ultimate harmony is far from mind capabilities and refuses to be rationally analyzed. This minialbum is the first vinyl release of Moscow based label Waystyx, and it remember us about russian tour of the legendary duo, which took place about a year ago. Dense and spheric, their sound progressed to the more subtle, fine aesthetics, carrying slightly minor intonations through all three pieces of this album, creating the wonderful shapes out of massive noise foundament. Especially speaking of “Meerestraum” (“The Sea Dream”), which is majestically eminent, enchanting your perception, drilling the dusky space of unconscious chaos, it fulfill your soul with confusion and yearning for mysteries and unknown places....." [Dmitry Vasilyev, IEM Magazine]
|
2009 |
€12.50 |
|
|
Grote Mandrenke |
CD |
"Available June 20th, 2012 as a first edition of 1000 copies in a custom made book bound gatefold sleeve and full color insert. “Grote Mandrenke” is definitely a Troum with a view. The title refers to a massive Atlantic storm that killed upwards of 25,000 Europeans in the mid 14th century (about a decade after the plague showed up. HOORAY!). Troum, of course, bathe their devastating subject in swelling waves of melodic drone and sea-walls of sound. Appropriately, “Grote Mandrenke” is cinematic and melancholy; anthemic and brooding, and distinctly shoegaze, but in a way that you can look up, and you still see shoes. And bodies, floating in a foamy miasma of silted water and fish guts. In fact, this should be on a label called 5AD, because this is one awesomer. Buzzsaw ambience and measured percussive breaths comprise a perfect soundtrack for nature's dominion over man." [label info]
"An aural hallucination on the events that occurred January 15-17, 1362 at the Friesian North Sea coast. This is the studio-version of a live event performed throughout 2008 & 2009, with live-visuals by Brian Traylor. First live performance: Antwerp (BE), Jan 26, 2008 at Nuit & Brouillard festival. Last live performance: Torun (PL) March 27, 2009 at CocArt festival. Final mix: May 2011
Thanks to Chris McBeth & Brian Traylor. Special thanks to Güse S. Schierloh & Bernd Hollendiek who provided us with the main basic material - by fortunate coincidence they met already in 1993 and played (Güse) & recorded (Markow C.) the material which made this release possible. All artwork by Jesse Peper jessepeper.com. Layout and design by chris.
www.troum.com
www.troum.bandcamp.com
www.lastfm/music/troum
This is the second part in the "Power Romantic" series." [credits]
|
2012 |
€14.00 |
|
| |
Synistanai |
CD |
Troum
"Synistа́nai"
aquarel 53-20
2020
SYNISTÁNAI: zusammenstellen, - fügen, - vereinigen, - verknüpfen
( to collocate, to assemble, to unite, to merge, to interloop.. )
A collection of rare & deleted tracks from compilations Vol. III (2003-2007)
Everything recorded between 01/2003 and 02/2007.
( Part I: Symballein : 1997-1999; Part II: Syzygie : 1999-2002)
CD, limited edition of 300 copies in 4-panel digisleeve
1. USWENA
2. ANANKE
3. PINA
4. SENGUH
5. IRCHENNAN
6. DRŪSIAN
7. DONISIS
8. GIASCEI
9. (...) ULTRACHRONOS (...)
Track 1 finished 01/2003, originally released on "Record of Shadows Infinite" CD
Crucialblast, 2003)
Track 2 finished 03/2003, originally released on "Evolved as One" CD (Evolved as One, 2003) Track 3 finished 05/2003, originally released on "Dark Ambient Radio 2" CD
(Dark Ambient Radio, 2009)
Track 4 finished 03/2004, originally released on "Subterranean Ways of Thinking" LP
(Avatar Rec., 2004)
Track 5 finished 09/2005, originally released on "Listen to Something Different" CD
(Ars Macabre, 2007)
Track 6 finished 10/2006, originally released on "Brainwaves" 3xCD
(Brainwashed Rec., 2006)
Track 7 finished 01/2006, originally released on "Walking in the Rain on the Ostrow Tumski" CD
(Ars Benevola Mater, 2006)
Track 8 finished 05/2006, originally released on "Cryosphere" CDr
(Glacial Movements Records, 2006)
Track 9 finished 02/2007, originally released on "The Threshold of Silence" CDr
(Umbra, 2007)
Notes to track 9 : The full title was : "(magic cymbals and the mother of) ULTRACHRONOS" - and there were, as usual, NO keyboards used! (wrong info by label and now on discogs)
Collected autumn 2019 by Baraka[H]
Mastered by Igor Potsukaylo
Artwork based on a painting by Stefan Knappe
Sleeve by Oleg Galay
aquarellist.ru/catalog/73/
|
2020 |
€13.00 |
|
| TROUM & RAISON D'ETRE |
De Aeris In Sublunaria Influxu |
CD |
"...Troum und Raison dêtre, das Yin und das Yang des Unbewussten." [Sibylle Bölling]
"Ever wondered how a mix of Troum and raison d’être would sound like? Here is the long awaited answer.
Four years in the making – carefully forged between 2011 and 2014 -, De Aeris In Sublunaria Influxu showcases a magically crafted alchemy between these two titans of the drone and ambient realms.
Troum navigate through cavernous, subterranean spaces where cyclical sounds reverberate towards impressive crescendos of icy noise, luminous drones and dramatic, guitar-driven ghostly melodies. Their truly unique gorgeous soundscapes shine in a perfect symbiotic movement with the Swedish dark ambient maestro Peter Andersson. Engulfed in a hauntingly beautiful kaleidoscope of grey-ish melancholia, raison d’être comfortably walks deeply into Troum’s vast territory, delivering his very own trademark of eerie tones, ominous sacral ambience and crystal clear constructions.
Airy lush enigmatic atmospheres live together with dark breathing, reverberant transformative drones. Rich and gorgeously layered.
Mastered using the K-14 level standard, the album comes lavishly assembled in a custom, sturdy 6-panel digisleeve packaging with amazing minimal artwork by the award-winning Spanish designer Ritxi Ostáriz. Limited to 700 copies." [label info]
www.essence-music.com
"Schön, wenn vorab kaum Worte nötig sind, weil allein die Tatsache der Zusammenarbeit zweier namhafter Künstler oder Bands für sich steht. Das deutsche Duo TROUM trifft auf den Schweden PETER ANDERSSON. Meine persönlichen Drone-Helden, die wie kaum eine andere Gruppe den Begriff 'Drone' mit Leben füllen, treffen einen der wichtigsten Dark Ambient-Workaholics mit seinem Hauptprojekt RAISON D'ÊTRE. Obwohl 'aufeinander treffen' eigentlich nicht das richtige Wording ist. Viel eher passt zum Beispiel 'aneinander schmiegen', denn entsprechend verwoben und organisch ist die über vier Jahre sorgfältig vorbereitete Zusammenarbeit ausgefallen.
"Folia" (01), der Opener und eines der zwei kurzen Stücke, beginnt mit schwebenden Drones, die ich sofort TROUM zuordnen würde. Das Knistern und Knastern wiederum, welches unterschwellig für Unruhe und Grautöne sorgt, gehört zu RAISON D'ÊTRE. Diese Zuordnung lässt sich über weite Teile des Albums vornehmen. Nach dem dezenten Vorspiel entsteht mit "Alio Tempore" (02) das Bild einer riesigen Kathedrale: abwechselnd tönen schwere und leichte Gongs, Soundcluster im Stile eines Chores schieben sich langsam nach vorne. Im Untergrund ergänzt ein Klirren die Szenerie. Über spacige, flirrende (Gitarren?)Sounds ergibt sich ein ruhiger, gleitender Ausklang. Auch "Oculum Mundi" (03) arbeitet mit Kirchenglocken-ähnlichen Loops, wie überhaupt die Stücke oft sakral wirken. Hier folgt allerdings eine hektischere Wendung, mit Dramatik durch mehr Geschwindigkeit inklusive eines mächtigen Trötens. "Atmosphaera" (04) ist warm und weich, sehr dronig eben, mit diesem kleinen Maschinen-Rattern anbei. In "Meditationum" (05), dem längsten Track, bilden atmende, singende Drones eine chorale Fläche, sorgen für weites und gelöstes Ambiente. Konkretere, schnarrende Klänge schieben sich nach einigen Minuten hinein, und die im Verlauf zunehmend längeren, gleißenden Drones erinnern mich an Musik für (oder von) Eisberge(n), untermalt von an dieser Stelle sehr organischen Sounds wie Grillenzirpen. "Flammae" (06) ist mit seinen drei Minuten für mich das schönste und auch wehmütigste Stück des Albums, die Drones formen eine betörende Melodie. Und "Ad Infinitum" (07) wirkt zum Abschluss auf mich besonders mächtig, fast bedrohlich oder unheimlich. Der Track hat was von einer Verabschiedung, von Dahinfloaten, insbesondere am Ende mit eisigem Krächzen und Schieben, mit fast menschlichen, stöhnenden Drones.
Als hätten TROUM und RAISON D'ÊTRE schon immer miteinander gearbeitet, klingt "De Aeris In Sublunaria Influxu" in der Summe seiner Bestandteile äußerst harmonisch. Die angesprochene Aufteilung der Sounds in deutsch und schwedisch, in flächige Drones und Dark Ambient-Geräusche ist zwar möglich, beides ergänzt sich aber durchweg hervorragend und ist so sauber aufeinander abgestimmt und gut produziert, dass die Atmosphäre dadurch gewinnt. Hypnotisierende Soundlandschaften, oder lyrischer: Ein Schweben in warmen Grautönen für dunkle Novemberabende.
Das Album kommt auch in einer limitierten Box mit zusätzlichen Tracks auf den Markt..."
[Michael We. für nonpop.de]
|
2015 |
€14.00 |
|
| TROUM & REUTOFF |
Kreuzung Zwei: Creatura Per Creaturam Continetur |
CD |
"Jedes Wesen ist mit jedem anderen verbunden."
Nach ANTLERS MULM der zweite Teil der REUTOFF Collaboration-Serie: TROUM bearbeiteten hierfür Basismaterial der Moskauer und gossen das ganze, inspiriert von der Kosmologie HILDEGARD VON BINGENs, in sechs dronig-sphärische Stücke.
"The second in Kreuzung collaborations series. The basic sound sources and samples made by Reutoff especially for this release have been treated, arranged and mixed with an addition of their own instrumental parts by Troum. Dark profound harsh ambient with some occasional rhythmic patterns intertwined with transcendental prepared guitar loops and perfect drone noises - a perfect blend between two project distinctive features and creative manners. The concept of this work is based on cosmology of Hildegard von Bingen. The release comes in a special “Kreuzung” series package made of brown kraft carton with a full colour stickered artwork/info cover and Reutoff logo embossed on the back, the CD is housed in the same carton die-cut inner envelope." [label info]
"The forty-five minutes are divided into six tracks, slowly building towards an intense mixture of miniature noisescapes, neoclassical tapestries, ethnic rhythmic structures and eerie vocal samples. All titles are in Latin, and since that isn't my strong point, I'll leave translations to the readers' enquiring minds. The first track, "Aether Purus", is typical for Troum, although the familiar bassy layering of Troum seems to have gone up in frequency; it's all a bit higher. "Terrenus" has some partial neoclassical-like sounds, but it is set in a 1970s surrounding, "A Space Odyssey"-like environment. There are moments there that appear like insects stuck in your aural canal. Or is it really little aliens?
This setting is forcefully continued in the third (title) track where the Troum sounds find their way back into the composition. Later in the track rhythms are added to the composition. It is by far the longest track on the album. "Ignis Niger" is the fourth track and its creepy, erratic voices and samples really get you into a mood fit for watching a horror movie. Yes, two film references are my way of saying this whole release is very filmic. "Ignis Lucidus" has rhythms again, in combination with deep droning layers. It's a bit close to atmospheres like O Yuki Conjugate. The disc closes with "Aer Aquosus (Reprise)" which is a short but powerful track in an adapted Troum style.
My knowledge of Reutoff is minimal, so maybe there are a few too many references towards Troum here, but on the other hand I love Troum, and this album is, despite the references, so different from their other work that I think I'm secretly going to like Reutoff a lot also." [Bauke van der Wal / Connexion Bizarre]
"The Germanic and dark drone outfit Troum embark on a collaboration with the equally dark, Russian ensemble Reutoff, although the conceptual framework of their album isn't one wholly wrapped in mystery, occlusion, and shadow. Creatura Per Creaturam Continetur is based upon the cosmology of Hildegard von Bingen, the 12th century German abbess, whose richly detailed visions through her unshakeable Christian faith offered feminine descriptions of the cosmic order sprinkled with sexually charged metaphor. In addition to her writings, Hildegard had developed an impressive musical canon of monophonic chorales and plainsong melodies, whose recursive elements certainly look forward to all sorts of drone-based musics of the 20th and 21st centuries.
While the drone connection is easy to make, how Troum and Reutoff view Hildegard von Bingen's faith and art is unclear.
Regardless, the majestic swells that immediately surge at the introduction of this album are some of the most beatific and
heavensent that either project has produced to date. Troum have always been known for their glacial pacing of drone crescendos for spiralling guitars heavily processed in effects; and on this album, they leave no doubt that they excel at their craft. For those seeking the dark, almost blackened ambience that both Troum and Reutoff have mustered in the past, there's plenty of industrial bellows, clanking rhythms, creepily whispered vocals, and subaquatic reverberations to cast a somber pall across these recordings..." [Aquarius Records]
|
2008 |
€13.00 |
|
| TUNNELS OF ĀH (TUNNELS OF AH) |
Surgical Fires |
CD |
Following the sulphureous sting of 2015's 'Thus Avici', Tunnels Of Ah's third album, 'Surgical Fires' is a dense, fermentative working.
Asemic vocals are sunk beneath an alienated electronic landscape of seismic drones and paranormal frequencies. Loss, gain, conflict, resolution, decay and transformation as an initiatory path is the current running through 'Surgical Fires'; the surgery alluded to in the title being psychic surgery.
With original album artwork by Stephen Ah Burroughs (HEAD OF DAVID) and a vocal contribution from London-based ritual artist Soror Anji Cheung, 'Surgical Fires' is another singular Tunnels Of Ah release evasive of categorisation.
www.coldspring.co.uk
|
2016 |
€13.00 |
|
| TZESNE |
Asimilacionismo |
LP |
"Twelve years separate the debut mini-album "Huffduff" from this solo LP titled "Asimilacionismo". Tzesne’s new vinyl is not a peaceful continuation of the last. Rather that being produced using drone-ambient techniques, his new work is atypical. Perhaps the easiness to find opportunities, or the hodgepodge of media used to register these intermediate materials, was the trigger to question where these methods occur and how to confront them by injecting some type of risk. This meant including a concept when composing, and opening a door to a game of possession-dispossession, implication and subjectivity; the one that has served to shape this story is the one named "assimilationism". All authors own tools and personal style are yielded to another authors, so that in turn the speech of the first one can be constructed. The result is the work itself, which emerges from a movement of resistance, widening as far as it is allowed to, considering the compositional margins, and reaching places where previous works have never ventured. But it is also possible to leave this information to one side and focus on listening alone, as it still holds the possibility to transform the place and the moment in which you are.
Tzesne | "Asimilacionismo"
seriesnegras | 2016
12” l white viny l 180 gr.
200 copies pressed
Contents: 9 tracks
Total duration: 39:18
Composed Amsia * Sounds Tzesne
Recording & Mixing: 2014 - 2016
Mastering: Tzesne & Amsia
Graphic: Jon Martín"
www.seriesnegras.org, www.artoartian.org
"Zweites Solo-Vinyl nach der Drone 7“ von 2005 überhaupt von diesem baskischen experimental Soundartist. Tzesne arbeitet fast immer mit (bearbeiteten) Fieldrecordings, bevorzugt solchen, die auf extra zu solchen Zwecken unternommenen Exkursionen aufgenommen wurden; als Verbindung mit dem Ort (der Aufnahme) oder bestimmten Handlungen, die dann das Thema der VÖ werden. Bzw. in abstrakt abstrahierter Weise an das Thema der Inspiration erinnern und so die Atmosphäre bestimmen. „Asimilacionismo“ führt genau diese Haltung fort und ist trotzdem ziemlich anders; geheimnisvoll, so dass es fast unbefriedigend ist, dass überhaupt keine weiteren Informationen vorliegen; auch über „Amsia“ nicht, der / die hinten auf dem Cover im Kleingedruckten Credits für Komposition bekommt (und Tzesne für „Sounds“). Neben dem Titel steht auf dem Cover vorn dann aber allein Tzesne… Wer soll das durchschauen? Was bleibt ist die Konzentration auf die Musik an sich, die auf „Asimilacionismo“ tatsächlich so erscheint wie eine Art von Erweiterung der undergründigen Soundpalette von Tzesne: Seite A dieser auf weisses Vinyl gepressten Platte, deren Labelartwork zusammen mit der Vinylfarbe diese Bezeichnung auch tatsächlich verdient, entwickelt ein zunehmend unruhiger werdendes Gespinst aus industriell anmutenden Loops, die über vier Etappen in ein immer elektronischeres Alter-Eho morphen, mit ebensolchen Sounds; definitiv neu im Hause Tzesne. Auch Seite 2 zeigt diese leichte Verschiebung der musikalischen Akzente, nutzt fünf Etappen, durch nahezu identifizierbare Fetzen von Gesprächen auf eine Art fast wie ein Hörspiel erscheinend, die jenseits von Fieldrecordings liegenden Elemente so etwas wie eine musikalische Grundierung, als Verstärkung der durch die Feldaufnahmen bestimmten Eindeutigkeit. Und am Ende das Finish in einem der für Tzesnes Ansatz typischen Multischicht-Fieldrecordings mit ihrer Vexiergestalt zwischen Versprechen und Auflösung (des Rätsels…). Sehr empfohlen, definitiv ganz oben / perfekt. Gerade auch, was Spannungsbogen und Dynamik betrifft. …wahrscheinlich am besten über den Artist selbst zu bekommen." [N / Black Magazin]
|
2016 |
€20.00 |
|
| 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 |
|
| UHUSHUHU (Ухушуху) |
Onega |
MC |
"Together with the ΠΑΝΘΕΟΝ label we are happy to present the cassette reissue of the second album by Uhushuhu - "Onega". The first release was made by ΠΑΝΘΕΟΝ in January 2015 on CD-R, a small edition of 33 copies in beautiful handmade packaging. It was sold out very quickly and now we've decided to re-release this recording on cassette along with two other albums ("Long Songs Pleasant for Hearing" and "Geoscience").
The sound of "Onega" was described by ΠΑΝΘΕΟΝ as "archaic earth hum; water ripple near dusk; stones dancing in the dark; tales about moss and its inhabitants. Ease of predawn dew, heady spirality of snails." We can only agree with these laconic and concise characteristics.
Besides the album itself the original disk contained a bonus track - a remix by Creation VI who stand behind the ΠΑΝΘΕΟΝ label. It is also included on the B-side of this cassette and even more - there is an exclusive 27-minute reshape version from Uhushuhu themselves mixed in a different tonality.
Artwork - clear cassettes with stickers, two-sided full-colour cover, outer cardboard slipcase." [label info]
zhb.radionoise.ru/eng/releases.html#zhb
"Along with two reissues on cassette of quickly sold-out cdrs over the past few years, we have a new album from the enigmatic Russian collective Uhushuhu. These are drones to sink into - deep, thrumming tones, nocturnal field recordings, accreted electronic vibration, and wind-swept aeration that appear to emit from the depth of the Russian forest, all embued with a transcendent, mystically dark quality that immediately makes us think back to those early Andrew Chalk albums, especially his beloved Sumac disc with Jonathan Coleclough. As with the other cassettes, this too is limited to 55 copies; but unlike the others, the plastic casing is swaddled in an O-card." [Aquarius Records]
|
2015 |
€8.50 |
|
| UN DRAME MUSICALE INSTANTANE |
Rideau! |
CD |
"Rideau! was Un Drame Musical Instantané's second album, originally released in 1980 on the group's own GRRR label. Since its creation in 1976, featuring Jean-Jacques Birgé, Bernard Vitet and Francis Gorgé, the group has decided to promote collective musical creation, co-signing their albums, which they consider as artworks in themselves, or their live shows which they try to renew every time they play. Un Drame borrowed their sources from rock (synthetizer player Birgé and guitarist Gorgé, both authors of the album, Défense de); jazz (trumpeter Vitet who founded the first free jazz band in France, together with François Tusques, as well as Michel Portal who played with many American and European jazzmen); classical modern music; as well as movies or world news; they were the first in France to give a new impetus to live music on silent films. Birgé and Gorgé also recorded a duo album that was mentioned on the infamous Nurse With Wound list, Défense De. On Rideau, you will hear their wild mix of styles, a very original, unclassifiable, inventive music, which drifts from jazz to electronic music and contemporary music. Remastered in 2016 and with a lot of bonus tracks, amongst them the track that appeared on United Dairies' compilation album "In Fractured Silence" for the first time in its full length!"
[label info]
"We are talking here of the trio of Jean-Jacques Birgé, Bernard Vitet and Francis Gorgé, indeed a very unique trio. From the beginning they blended jazz, rock, electronics, new music, improvisation, sound, audio-visual into fascinating Gesamtkunstwerk. In a way that has some resemblance with the work of Alfed Harth and Heiner Goebbels, who were operating at the same time. (...) All three members already had their history in the jazz scene of France, especially Bernard Vitet who died in 2013. As a trio they would become a stabile force for many years. ‘Rideau’ is a perfect start for getting introduced to their idiosyncratic way of assembling influences. They developed their very own world, their own language. Listening after a long time once again to Rideau, the music still talks and sounds far from out-dated. The musicians play a wide variety of instruments. (...) Back then their music sounded very experimental and wild to my ears, now it strikes me this is really full-grown, open and well- balanced music by inventive musicians who had a strong musical intuition and vision."
(Vital Weekly, May 2017)
www.klanggalerie.com
|
2017 |
€14.50 |
|
|
A Travail Egal Salaire Egal |
CD |
" À Travail Égal Salaire Égal was Un Drame Musical Instantané's third album, originally released in 1982 on the group's own GRRR label. Since its creation in 1976, featuring Jean-Jacques Birgé, Bernard Vitet and Francis Gorgé, the group has decided to promote collective musical creation, co-signing their albums, which they consider as artworks in themselves, or their live shows which they try to renew every time they play. Un Drame borrowed their sources from rock (synthetizer player Birgé and guitarist Gorgé, both authors of the album, Défense de); jazz (trumpeter Vitet who founded the first free jazz band in France, together with François Tusques, as well as Michel Portal who played with many American and European jazzmen); classical modern music; as well as movies or world news; they were the first in France to give a new impetus to live music on silent films. Birgé and Gorgé also recorded a duo album that was mentioned on the infamous Nurse With Wound list, Défense De. On À Travail Égal Salaire Égal, you will hear their wild mix of styles, a very original, unclassifiable, inventive music, which drifts from jazz to electronic music and contemporary music. Remastered in 2016 and with a lot of bonus material. Track list: 1. On Tourne 2. Crimes Parfaits 3. Pourquoi La Nuit? 4. La Preuve Par Le Grand Huit 5. La Preuve Par le Grand Huit, One Year Later." [label info]
www.klanggalerie.com/gg244
|
2017 |
€14.00 |
|
| |
L'homme a la Camera / La Glace a trois Faces |
CD |
Un Drame Musical Instantané were founded in 1976, featuring Jean-Jacques Birgé, Bernard Vitet and Francis Gorgé. Their aim was to promote collective musical creation, co-signing their albums, which they consider as artworks in themselves, or their live shows which they tried to renew every time they played. Their sound was created with many influences: They borrowed their sources from rock (synthesizer player Birgé and guitarist Gorgé, both authors of the album, Défense de); jazz (trumpeter Vitet who founded the first free jazz band in France, together with François Tusques, as well as Michel Portal who played with many American and European jazzmen); classical modern music; as well as movies or world news; they were the first in France to give a new impetus to live music on silent movies. After having improvised freely for many years, they led a fifteen piece orchestra from 1981 to 1986, and from 1989 onwards they produced multimedia shows (live video remix on a giant screen, fireworks, choreographies). Still their music was the most important technique, they called their recordings "blind cinema". The Drame used to mix acoustic and electronic instruments in real time as well as original instruments built by Vitet (a reed trumpet, a multiphonic French horn, a variable tension double-bass, a giant balafon with frying pans and flower pots keyboard, a fire organ, plexiglas flutes, etc.). After Francis Gorgé left the band in 1992, Birgé and Vitet went on recording and producing with other musicians close to the "family" such as percussionist, Gérard Siracusa, or multi-instrumentalist, Hélène Sage. Un Drame Musical Instantané always remained independent (they always owned their own recording studio and record label GRRR) and stopped its activities in 2008, with Birgé being the only one active until this day. L'Homme À La Caméra was originally released on GRRR in 1984 and features 15 musicians. In addition to the original album, we offer you a whole new section of previously unreleased music from the time entitled La Glace A Trois Faces which is another soundtrack to a silent movie from 1927 |
2020 |
€14.00 |
|
| UNKNOWN ARTIST |
Agusta Lecetta, 1926 |
MC |
"This material was found on a CD-R in Toscana without any information. We decided to release this obscure material - whether it's authentic or not. A deep journey into processed violent recordings with devil voices from another world.
This army green C-25 comes with a very special unique handmade painted artwork, limited
to only 34 copies worldwide. Includes a phiole filled with poison to make suicide easier." [label info]
www.voluntarywhores.de
|
2014 |
€8.00 |
|
| |
VOLAKAS, Moments from the Festival |
CD-R + object |
eclipsis 07
Βώλακας - Στιγμές από τα Δρώμενα
A live recording of a pagan folk celebration held every year between 6-8 of January in Volakas village, North Hellas.
Limited to 100 handnumbered copies.
(few available as most of them were given for free to Volakas people)
Pro-printed cdr with 5 double sided postcards all in handmade cloth bag with bell
Concept, Fotos, Recording: eclipsis
Artwork: Georgia M.
Cloth bag: Gionoul O.
Sound processing: echOmusic, audiosqueezer
Released: 06/01/2016
Tracklisting:
1. Μπάρα
2. Χαράπια
3. Αρκούδες
4. Γάμος
Total time: 36:16
|
2016 |
€20.00 |
|
| UP-TIGHT |
The Night is yours |
CD |
"Finally out this mighty masterpiece of dark and wild psychedelia from the Japanese three-piece legends! Fuzz and reverb drenched jamming sounds from the basements of Hamamatsu evoking the always welcomed ghosts of Amon Düül and Les Rallizes Denudes.
Originally released as an instantly sold-out LP edition on Sloow Tapes in 2011, we decided to do justice and make The Night Is Yours available again, this time as a CD edition limited to 200 copies. Housed in our high quality tip-on mini-LP gatefold packaging (plus insert) featuring new sonic treatment by the mastermind Aoki Tomoyuki and expanded trippy artwork by Bart De Paepe!"
“Tokyo psych monsters Up-Tight come out of the classically wasted/drug-damaged school of excessive fuzz and reverb, giving the nod to the endless jam style of Les Rallizes Denudes while spiking their sound with dark downer ballads that owe as much to The Jacks as they do to The Velvet Underground. The Night Is Yours is the absolute apex of their catalogue to date, crossing beautiful comedown folk-psych moves with whole sides of extended scorch. Indeed, there’s a new focus on psychedelic ritual here, especially apparent on the staggering “She’s So Heavy” with choirs of disembodied monks chanting in the background while the bass – played with all of the thunderous power of Mik from Kousokuya – marches the group ever forward and vocalist Tomoyuki hovers over the track like a wraith. If you can picture Spacemen 3 circa “The Perfect Prescription” produced by Ghost circa “Temple Stone” then you’re close to the outrageous levels of psychedelic excess captured here. Tomoyuki’s guitar tone has to be heard to be believed, with tactile garage punk crunch put to the service of endlessly euphoric orbits of three droning chords. Up-Tight have been responsible for a buncha the most memorable releases to come out of the post-PSF underground but this has to be their recorded pinnacle, the perfect balance of two chord Velvet downers and strung-out post-Rallizes string violence. One of our records of the year so far! Highly recommended!” (Volcanic Tongue)
www.essence-music.com
|
2014 |
€15.50 |
|
| URE THRALL |
Premonition 9/11 |
7inch |
"URE THRALL is an American artist from Houston, TX (living since years in the Bay Area) who is long active in the more atmospheric- transcendental experimental US-scene – in former days he was a member of the pre-VOICE OF EYE project CRUOR and later with ASIA NOVA, and he also participated in the two first V.O.E. – CDs as a guest musician. Now, apart from being a member of SMOOTH QUALITY EXCREMENT, he works solo and creates most impressive soundscapish depth-drones with an incredible emotional quality, harmony & sadness melting together into beautiful aural visions.
This 7”, his first vinyl-release as URE THRALL, contains two long tracks (> 8 min.) with an organic, filmic & sublime quality, using echo-flutes, bass, e-bowed guitar & restrained percussion underneath. THE TRAVELER with all its majestic harmony seems to be like an endless travel through emotional fields of melancholia - expressing the endless search for something once known which is lost forever and you can’t even remember what is was, but you feel that you need it back existentially ! Perfect music for endless drives on highways (both physically and spiritually) ... The title track PREMONITION 9/11 is less relaxed and more of a threatening quality, using faster percussion and strange bass-patterns with oriental sounding flutes & swirling sound-effects. This track also uses field-recordings from the tragical events happened on 11. Sept. 2001 in NYC and must be also seen as a treatment of traumatic experiences. The whole 7” is a personal statement about the politics of the USA after this tragic day, which is expressed also in the cover-artwork and the liner-notes: “THE COVER ART is an effigy of the American Flag in decay and is composed of an extreme close-up shot of the World Trade Center moments before its collapse, its occupants leaning out the windows fully aware of their impending transition to the next plane of existence.”
[original press release January 2003]
|
2007 |
€6.00 |
|
| 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 |
|
| UTON |
The Source has its rare Beauty |
MC |
UTON is the experimental project of Jani Hirvonen, a key contributor to the thriving underground music scene in Finland. Over 20 prolific years, Hirvonen has formed a distinct sound world with UTON that is often distinguished by a beautifully maximal approach to instrumental psychedelia; playful compositions involving seemingly endless layers of colourful ambience, woven like a tapestry.
Part of what makes UTON's staggering discography so wonderful is a willingness to veer away from any predictable trajectory, and continue to surprise listeners. With The Source has its Raw Beauty, UTON has taken a full departure and bravely struck an immersive mainline into heavy minimal drone. As Hirvonen explains, “UTON has always been an experimental project, and it expands to experiment with whatever just comes into the flow – but, of course, there needs to be that Source which makes it feel inspiring and exciting.”
Outlier Communications is thrilled to present this unique work from a vibrant musical visionary. During its creation, Hirvonen's visual artwork for the cassette morphed into an homage of sorts to the distinct CD packaging popularized by Corpus Hermeticum, the legendary label curated by Bruce Russell of The Dead C from about 1993 - 2004. We tried our best to honour that vision, and believe these sessions – which resulted from an acoustic guitar being mounted with an electric massager – would have fit nicely in that esteemed catalogue.
“The sound and idea is very simple, and the result raw and noisy,” admits Jani. “That noise penetrates from and into the depths; from and into The Source – to our life and form – and continues this loop eternally. It's an esoteric energy bank, a power charger for the inner batteries.” Hirvonen recalls from the sessions, “The whole guitar was trembling, not just the strings. Playing and improvising with very minimal movement was relaxing and meditative, I could just melt deeper into this raw beauty.”
https://outliercommunications.bandcamp.com/album/the-source-has-its-raw-beauty
|
2022 |
€9.00 |
|
| V.A. (VARIOUS ARTISTS) (COMPILATIONS) |
INFERNAL PROTEUS |
BOOK / 4 x CD |
Auf dieser PFLANZEN-Compilation werden 40 verschiedene Pflanzen (davon 1 fiktionale) musikalisch charakterisiert, wobei das Spektrum sehr weitreichend, aber größtenteils im dark ambient / post-industrial und apocalyptic folk – Bereich anzusiedeln ist. Die Aufmachung ist äußerst edel, ein 96seitiges Hardcover-Buch mit Abbildungen / Artwork zu jeder Pflanze.
Die Auswahl der Pflanzen erfolgte durch die beteiligten Projekte und zeigt auch schon, wo ein Hauptinteresse lag: bei den bewussteinsverändernden Pflanzen...;
ein wahrhaft monumentaler Trip in die Pflanzenwelt, eine Compilation die eigentlich Unverbindliches zu verbinden sucht. Einmalig in der Konzeption und Gestaltung, a definite MUST have!
“A professionally and luxury manufactured 96-page hardback book with full colorartwork, containing 4 Compact Discs with 40 first-class artists and a playtime averaging 67 minutes per disc ¬ from Folk to Rhythmic, Pop to Ambient and Electronic to beyond... Every contributing artist was given the freedom to chose one plant or herb of his delight to present within “Infernal Proteus” under the aspect of music and visual art. The result is a new form of book, ground breaking in its expression ¬ a manifestation of true artistic virtue!” [press release] Featured are a.o.:
AH CAMA-SOTZ (Belgium): Morning Glory, ALIO DIE (Italy): Borage, AMBER ASYLUM (USA): Kelp, APOPTOSE (Germany): Oak, AUBE (Japan): Chrysanthemum, BARADELAN (Germany): Bonsai, CHAOS AS SHELTER (Israel): Bellflower, COLECLOUGH & HILL (UK): Beech, YANNICK DAUBY (France): Sundew, ENDVRA (UK): Hops, HEKATE (Germany): Cornflower IGOR18 (Israel): Venus Flytrap, INADE (Germany): Ginkgo DAVE KNOTT (USA): Redwood, LOTUS EATERS (USA): Marijuana, MNORTHAM (USA): Salvia Divinorum, SETH NEHIL (USA): Birch, STEVE RODEN (USA): Pine
TROUM (Germany): Khan Arachnid, ULTRA (USA): Yohimbe WOLFSKIN (Portugal): Thornapple........and many others !
label-website: www.theajnaoffensive.com |
2002 |
€45.00 |
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Paranoise One |
CD |
Das kleine Kölner Experimental-, Elektronik- & Industrial-Label hat eine schöne Compilation mit vielen neuen Namen zusammengestellt, das meiste davon wohl aus deutschen Landen, in der lim. Version mit „branding“-Holzbox! Um nur einige der Beteiligten zu nennen: FATAGAGA bestechen mit wuchtigem Katakomben-ambient-Industrial, AXIOMATIC INTEGRATION aus Hamburg knirschen sich mit microsound-IDM nach vorne, RYFYLKE bieten spannenden ambient-noise, die MELANCHOHOLICS düsteren Guitar-ambient-post-post-rock, COURTIS (ex REYNOLS) allerfeinsten dark-ambient-Rauschdrone der endlos weitergehen dürfte, LOSTHEIM verlieren sich in objektlosen Drone-Sphären, und überraschenderweise ist auch ein Stück von GERECHTIGKEITSLIGA enthalten, welches recht frisch klingt, also evtl. neues Material?
“this cd compilation contains a various mixture of ambient, experimental and industrial styles by the following artists :
gerechtigkeitsliga / co.caspar / courtis / incite / axiomatic integration / hidden technology / melanchoholics / ryfylke / fatagaga / elfish echo / les rejetons de dd5 & dd6 / lostheim / interferenz / luminous / roland / gumminonnen / milan sandbleistift
the fullcolor 20page booklet contains individual artworks by each artist.
two editions are available :
- a normal edition limited 280
- a special edition wooden box with branding limited 220” [label info]
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2005 |
€10.00 |
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Runeology 2 |
CD |
„Preisgünstiger Sampler mit Tracks von vor kurzem veröffentlichten, aktuellen oder erst erscheinenden Alben. Mit Tracks von DEATHPROD, ARVE HENRIKSEN, PHONOPHANI, SCORCH TRIO, FOOD, NILS OKLAND, ALOG, SHINING und ARCHETTI/WIGET..... Das Rune Gramophon Label wurde im Januar 1998 von Rune Kristoffersen gegründet mit der Intention gegründet, die Musik der abenteuerfreudigsten und kreativsten Künstler Norwegens zu veröffentlichen. SPECIAL LOW PRICE 70 MIN SAMPLER INLCUDING TRACKS FROM RECENT AND CURRENT RELEASES AS WELL AS TRACKS FROM FORTHCOMING 2005 ALBUMS. ARTISTS FEATURED ARE DEATHPROD, ARVE HENRIKSEN, PHONOPHANI, STRNEN/STORLKKEN, SCORCH TRIO, FOOD, NILS KLAND, ALOG, SHINING AND ARCHETTI/WIGET. COMES IN A SLIMCASE CARDBOARD SLEEVE WITH ARTWORK BY KIM HIORTHY. RUNE GRAMMOFON WAS ESTABLISHED BY RUNE KRISTOFFERSEN IN JANUARY 1998 WITH THE INTENTION OF RELEASING WORK BY THE MOST ADVENTUROUS AND CREATIVE NORWEGIAN ARTISTS.” [press release] |
2005 |
€8.50 |
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Swarm |
do-CD |
Günstiger Label-Sampler des britischen Industrial / Martial-Labels, alle Stücke exklusiv !
“We are very pleased to announce the brand new Cold Spring label sampler! One of the most modern and comprehensive examples of the scene today and a unique insight into the future of Cold Spring. "Swarm" features 22 exclusive tracks from all these astounding Cold Spring artists, recorded specifically for this collection. Presented in a double gatefold pack with sumptuous artwork by O. Lomer. A double CD for the price of a single CD!
Exclusive tracks by: A CHALLENGE OF HONOUR, ANDREW LILES, BAND OF PAIN, BLEIBURG feat. WERKRAUM / VON THRONSTAHL, SLEEP RESEARCH FACILITY, DEADWOOD, H.E.R.R., WERKRAUM, FREDRIK KLINGWALL, GOATVARGR, NECROPOLIS, CLEAR STREAM TEMPLE, SCHLOSS TEGAL, KREUZWEG OST, JOHN WATERMANN, SHINJUKU THIEF, VON THRONSTAHL, TENHORNEDBEAST, KRIEGSFALL-U, MERZBOW Vs. NORDVARGR, SISTRENATUS and ZOS KIA“ [label info]
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2006 |
€13.00 |
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The Golden Road |
7 |
Feine neuseeländisch–norwegisch–britische Compilation EP, in 4 verschiedenen Artwork-Ausführungen. BRUCE RUSSEL (CORPUS HERMETICUM!), ANTONYM, TAMING POWER (EARLY MORNING RECORDS), SINDRE BJERGA / ANDERS GJERDE (GOLD SOUNDZ / HUMBUG).
“This is the second record in the EP compilation series, which started in 2001. The records are released according to this concept: 4 artists are given approx. 4 minutes each, and can use these minutes for whatever purpose they want as long as the result has something to do with experimental music. Each artist is given 1/4 of the pressing to create covers for and to make a personal edition - which means that all releases in this series exist in 4 different editions which are distributed by the individual artists.” [label info]
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2003 |
€6.00 |
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Widerstand (PROPERGOL, ORPHX, GENITOR LVMINIS, PREDOMINANCE, DREAM INTO DUST, SURVIVAL UNIT, CON-DOM, etc ) |
do-CD |
Industrial-Compilation focused on the theme “resistance”, from very harsh attacks with vocals over orchestral ambience to dark droning pure sound-stuff, this is very varied collection, reflecting the theme from different sides.
“ The final chapter in Stateart's early series of releases! This Double CD comes in a compact DVD size box with full colour inlay and 20-page booklet, containing artworks provided by all participating artists. Limited edition of 1.000 copies without re-issue!
Tracklist: Disc 01: PROPERGOL "Alpha 60" // PROPERGOL "Fahrenheit" // 4TH SIGN OF THE APOCALYPSE "Black Sheep" // ORPHX "Black Flag" // ALLGRENA "Protest" // CONTROL RESISTANCE "Blood In Your Face" // GENITOR LVMINIS "Resistance" Disc 02: BLOOD CONSPIRACY "The Wire" //
PREDOMINANCE "To Tame A Land" // DREAM INTO DUST "At The Heart Of The White Rose" // CITADEL "Radix" // SURVIVAL UNIT "Resistance Redefined" // CON-DOM "I'm Human" //
MAISON CLOSE "Escape From Freedom" // WUTANES HEER "Resistance" [label info]
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2003 |
€18.00 |
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IDIOSCAPES |
CD |
Nice compilation on new belgique label, special priced !
"the idea was to ask some of our favourite sound artists to take part in a compilation . . . and, to our surprise, they accepted. The only concept was that they had to provide a specific / particular / idiosyncratic piece. qualified as a “drone paradise” by lasse marhaug (of jazkamer), the result is a fine and coherent whole, full of extended textures, contrasted acoustic surfaces, subtle and strong. Idioscapes contains 70 minutes of authentic acoustic researches, with glitches, loops, noises, deep and glittering textures, subliminal frequences and narrative inserts, punctured with sensible musical moments.
idioscapes is a very nice object with a beautiful digipacked artwork.
01 janek schaefer : scarlett arrives - for scarlett schaefer
02 keith fullerton whitman : quest appartments, Newcastle NSW
03 critikal : critically fluffy
04 rapoon : the moment screams
05 kk null : idioscape / decomposition
06 charlemagne palestine : la beauté et la bête
07 steffen bashô-junghans : the blue hour
08 sébastien roux : D 821
09 troum : fantauma
10 eve and the sickness : infected nature
11 jazkamer (lasse marhaug) : ruido rosa 5 minutos
12 daniel menche : cadence
13 idiosyncrasia : filt_h " [label info]
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2007 |
€10.00 |
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Destroying the Night Sky (CADAVEROUS CONDITION-remixes) |
CD |
Sicher einer der ausuferndsten & interessantesten Experimental-Compilations des Jahres 2008, mit Fokus auf britische Acts aus dem NWW / ICR-Umfeld! Material der Death Metal-Combo CADAVEROUS CONDITION (die es schaffen, übelsten Kitsch mit Grindcore-Gegrunze zu verbinden) wird hier z.T. auf irrwitzigste Weise dekonstruiert, manchmal haarscharf am Wahnsinn vorbei, manchmal entstehen aber auch unerwartet schöne Arrangements, das Spektrum ist trotz des "rockigen" Basismaterials sehr gross.... man sollte allerdings Grunz- & Gröhl-immun sein, sonst hält man es kaum aus, am witzigsten & noisigsten wohl CONTROLLED BLEEDING, die Originalversatzstücke mit Harsh Noise und bizarren anderen found sounds mischen.
"NURSE WITH WOUND, THIGHPAULSANDRA, NOCTURNAL EMISSIONS, ANDREW LILES, CONTROLLED BLEEDING, COLIN POTTER, PRODUCT 8, ASMUS TIETCHENS, GJÖLL, HOLY McGRAIL, ALI HELNWEIN versus CADAVEROUS CONDITION. Destroying The Night Sky CD in a limited edition of 700 copies. A very special release with an unusual mix of sound: Using Cadaverous Condition's "To The Night Sky" album as source material for their tracks, all the aforementioned bands have created a unique new style of music. Call it metal ambient, drone metal or electronics metal, the result is something previously unknown and exciting. Hear Nurse With Wound doing one of their darkest tracks ever - listen to Controlled Bleeding's totally insane restructuring of a rock track, or be surprised by Nocturnal Emissions's return to noise - this album is unlike everything else you have heard in recent years. All cover
artwork by Cyril Helnwein, son of Gottfried Helnwein." [label info]
www.klanggalerie.com
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2008 |
€12.00 |
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This Infernal Love of Life |
CD |
Wiederveröffentlichung einer schwedischen Compilation-LP von 1989 mit ELD-OMALA (symphonisch-apokalyptische Sounds), WHITE STAINS (experimenteller Ritual-Folk, waren eng mit PSYCHIC TV & TOPY verbandelt), PHAUSS (lebendiger Infinity-Drone / Noise), Z. KARKOWSKI (schon damals kaum zu beschreibender undurchdringlicher Komplex- & Amorph Noise voller innerer Bewegung)
Thema der Compilation war der "Wille zum Leben", das Feiern der Lebenskräfte, eine entsprechend rituelle & kraftvolle Zusammenstellung ist es geworden... ein sehr lohnenswerter Re-Release, neues Cover, Auflage 500 Stück.
"A visionary showcase of Sweden's finest artists, paying tribute to the mighty currents of LIFE within us all. This album was originally released as an LP by TOPYSCAN in Stockholm in 1989, in a limited, hand-numbered edition. Included was a booklet with texts, artwork and photographs by the artists.
The idea, if any, was to invite artists working with sound and experimental music to illustrate the philosophical, emotional concept of the "will to live". Eld-Omala and White Stains were based in Stockholm, Phauss and Karkowski in Gothenburg. One could say that this album presents a pretty correct picture of what was going on musically in Sweden at the time. Digitally remastered by Thomas Tibert in 2006,
the album comes with new cover,first time in digital format." [label info]
www.monochromevision.ru
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2008 |
€13.00 |
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The Recommended Records Sampler 1982 - 25th Anniversary Edition |
do-CD |
".. Chris Cutler hat es sich wenige Jahre zuvor mit Gleichgesinnten zur Aufgabe gemacht ein Label zu eröffnen für musikalische Weitsicht. Inhalt, Rock, wohl nicht wirklich, für New Wave war alles viel zu wenig stylisch. Musikalisch hatte der Zuhörer eher den Eindruck, eine Symbiose aus Genanntem mit improvisierten Soft Machine zu hören. Das Label hatte es in den zurückliegenden Tagen wirklich geschafft, einen eigenen erkennbaren Sound mit dem dementsprechenden Coverartwork zu kreieren. Die Veröffentlichung dieses Samplers hatte damals natürlich die Aufgabe der klassischen Labelschau, heute wirkt es wie ein wunderbares musikalisches Fotoalbum. Man trifft auf alte Bekannte wie Henry Cow, Robert Wyatt und den Homosexuals oder gar Conventum. Schön ist es, aus dem Booklet zu erfahren, dass Joseph Racaille immer noch musikalisch umtriebig ist. Natürlich mit dabei die martialische Kunst von Faust. Wer das gemeinsame Tassengeschepper aus einem damaligen Cafe mit dem dazugehörigen Soundtrack kennt, gegenüber dem hektischen Wegwerfen eines Coffee-To-Go Bechers, der sollte hier dem Kauf zum Wiederentdecken auf jeden Fall nachkommen. Neue Hörer und Interessierte sowieso." [Morton, Unruhr.de]
"A keystone reissue of an historic collection featuring: Faust (D), Art Bears (UK), ZNR (F), Robert Wyatt (UK), The Residents (USA), Henry Cow (UK), This Heat (UK), Art Zoyd (F), Univers Zero (B), Stormy Six (I), Aqsak Maboul (B), Picchio Dal Pozzo (I), Decibel (MX), Goebbels and Harth (D), The Homosexuals (UK), The Work (UK), Amos and Sarah (UK), Ron Pate/Raudelunas (USA), Conventum (CAN), Hector Zazou, Joseph Racaille and Patrick Portella (F). Total Time: 2 hours. Recommended Records was set up in the late 1970s by Chris Cutler and Nick Hobbs - both then busy with Henry Cow - on the back of the worst possible business model imaginable: to collect and distribute music which, in Cutler’s judgement, was original, important or excellent - and otherwise generally unknown. No major labels, just releases by independents or artists themselves, with particular emphasis on ignored European releases. It was an interesting moment: punk and the new wave had unsettled the old certainties, major labels were floundering and a new generation was setting up its own channels of information and distribution. Out of this stimulating chaos, all sorts of innovations and alternative propositions emerged, especially outside the UK/US axis, which by then had become complacent and arrogant - because they had ‘invented’ rock and what else was there to know? Thus Recommended quickly became the principle source of information about a diverse new underground of innovative music that wasn’t jazz, rock, new wave, or anything quite. By 1982, Recommended was in its fourth year. The catalogue had expanded and the label was firmly established. A sampler seemed an obvious and necessary next step. Compiling extracts from existing releases would have been boring, so we asked the most interesting groups in our catalogue to record something new. The result was two hours of music released as a double LP in a hand silk-screened sleeve that was, as it turned out, a time capsule - a tidy slice taken across a fascinating forking of musical paths that captured a moment of growth that foresaw a variety of possible futures. 26 years on it has become a highly prized collectors item, not only because of the breadth and quality of the music it contains, but also because of its early geographical reach. A lot has changed in little more than a generation." [label info]
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2008 |
€17.50 |
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Ya Ji |
CD |
Das dürfte die erste in China veröffentlichte CD sein, die wir anbieten. Eine Compilation mit Collaboration-parts von BAI TIAN (auch auf der SUB ROSA Anthologie enthalten), SHIZI (auch aus China), sowie ANDERS PETERSON (aka OBJEKT4 und RELAPXYCH) und die legendären LOOP ORCHESTRA! Glitchig ambientes, drones, plunderphonics.. inkl. inlay mit liner notes über alle Stücke auf englisch und chinesisch!
"Ya Ji (Elegant Meeting):
A truly International sound project between China, Sweden and Australia. Proving that experimental music is very much acultural. The artists involved are Bai Tian from and currently lives in Chengdu (Sichuan province) and Shizi from Lanzhou (now lives in Beijing) in China, Anders Peterson from Stockholm and The Loop Orchestra from Sydney. The Artists have remixed each other’s work and these remixes are joined together to make up the 16 minute collaborative first track. Sound files were exchanged through the Internet. So it is a real cross-cultural/international sound project and in that respect it is unique. The other tracks on the CD are pieces by each of the artists.
The CD is released on the Chinese label KwanYin Records which is under the Sub Jam (www.subjam.org) collective from Beijing . All of the Artwork, CD production and final mastering was done in China.
The music ranges from the sound journey of the first collaborative track , Ya Ji, through to the beautiful final slowly unfolding piece by Shizi . The 16 minute collaboration is in four separate chapters. The first is a collaboration between Bai Tian and Anders Peterson. The second is a remix by The Loop Orchestra of the collaboration. The Loop Orchestra remix is then remixed by Shizi. The piece is really like a sound journey from minimal beats which become buried by dronal loops and finally slowly collapsing into the abyss.
The second track , In , by Bai Tian is a bright crisp digital electronic piece which references the heyday of European digital electronica of the late 90s.
Track three, insomniactivity is by relapxych.0 (Anders Peterson from Stockholm, Sweden). It is a marriage of instrumentation and electronica.
The next piece (track four), Vibraloops, by The Loop Orchestra is a colourful and humourous tape-loop rendition of a 1940s/50s vibraphone orchestra. Full of kitsch and colour it is beautifully percussive and opposite to the previous piece is very much low technology or as they like to say a category called No Tech. Purely tape loops played on reel-to-reel tape machines.
Track five, Background Shadows is a radio studio remix of the CD Her Face Amongst the Shadows by Objekt4 (the previous sound project of Anders Peterson). The remix is by John Blades and Richard Fielding who co-present the experimental radio program Background Noise on 2 mbs FM in Sydney. For this they used the radio studio as an instrument. Listen at www.anonradio.net .
The final track, track six is by Shizi and is a layered drone piece which is like being consumed by a thick fog. A very appropriate closing to the elegant meeting.
The whole CD can really be described as a sound journey with a beginning, a middle and an end.
THE ARTISTS:
Anders Peterson (relapxych.0)
After working for many years with sound design, film music, sound recording, mastering / remastering, acoustic design and also as a musician (guitars / bass) I eventually found the most rewarding personal experience from the sounds of nature (water, wind, fire, earth), with its endless variation and amazing organic qualities, constantly evolving, and by capturing (recording) ambience from certain places I finally obtained sounds that had massive potential to be truly *original* and *unique* to myself. The next step was to combine these recordings with musical instruments and “approaches”, combining harmonics and “body” from musical instruments with the organic flow and constantly varying rhythms of for example dripping water, gusts of wind or cracking ice, through digitally coded cross-synthesis, hybrid sounds carefully sculptured by hand. Creating musical ambience instead of ambient music.
www.ghostsounds.net
Bai Tian (aka Bai+ian) is a emerging sound artist, flute player and organizer of independent music based in Chengdu, China. He plays in a wide range of styles such as ambient, cut’n'paste and electronic music etc. He has performed with Chinese and international artists such as Huan Qing, Zafka, Zbignew Karkowski and Li Chin Sung. He has participated in exhibitions such as 156M Contemporary Art Exhibition (Chengdu), Getitlouder (Chengdu) and China Power Station (London).
www.myspace.com/baiii
Shizi was born in Lanzhou, China in 1984. He is a drummer, and improvised music player. As member of “Noise Association of Lanzhou” he started his underground music career in the late 1990’s. He has worked with more than 10 bands/projects with different styles. Once he moved to Beijing for university in 2003, he started to work in the palm of electronic/experimental and improv music. Now he is studying sound design at Beijing Film Academy.
www.myspace.com/shiziofnoise
The Loop Orchestra was formed in 1982 by Richard Fielding and John Blades. It is a collective of reel-to-reel tape machines which are approximately 30 to 35 years old. The reel-to-reel tape machines play lengths of quarter inch tape joined into loops of varying size onto which sound is recorded from various sources. This methodology is historically significant in the history of electronic music from the 1950s. The loops are mixed together to create a layered and slowly evolving soundscape. They have had CD and record releases in Australia and Europe since their first release (the LP record Suspense) in 1991. There are currently five members: John Blades, Richard Fielding, Manny Gasparinatos, Hamish Mackenzie and Juke Wyatt. The Members for this recording were John Blades, Richard Fielding, Manny Gasparinatos and Patrick Gibson. For information and a full list of performances and releases visit. www.thelooprchestra.com."
[press release]
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2008 |
€12.00 |
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TOUCH. 30 Years and counting |
do-LP |
"Compiled, edited, mixed and produced by Mike Harding & Jon Wozencroft, 14-15th October 2012. Cut by Jason at Transition, 16th October 2012. Artwork & Photography by Jon Wozencroft. Release date: 5th December 2012. Released to coincide with Touch's 30th anniversary celebrations at Beaconsfield, London, on December 5th and 6th 2012, all tracks are exclusive and original to this release With Fennesz, Bruce Gilbert, Rosy Parlane, Oren Ambarchi, ELEH, BJNilsen, Nana April Jun, Chris Watson, Mika Vainio, Carl Michael von Hausswolff, Jana Winderen, Philip Jeck, Francisco López, Z'EV, Hildur Gudnadottir, Biosphere.
30 years and counting is an echo of a time when the world was in a critical condition, and potentially about to blow itself into oblivion at the tail end of the Cold War. As such the title is a wry reflection on the situation we find ourselves in today, where the final curtain is less likely to close, but the stakes somehow seem to be more extreme and polarised than ever.
As far as Touch is concerned, it is an expression of our youthful relationship to the work. Mike Harding and Jon Wozencroft invited each of the Touch artists to contribute a glimpse of their current practice to what is effectively a group show rather than a compilation. The brief was not only to celebrate a situation, but to remind each other why we are doing it, and make a kind of documentary realism.
Some artists responded quickly with significant twists and returns to their signature sound and others left it to the last minute. The net result was that Mike and Jon mastered the LP/CD more or less as live performance in the cutting room, Transition, as an expression of the vitality of the project rather than some pre-ordained historical item.
The history is built into the cover with two images of the first computer, the ‘Colossus’, built in Bletchley Park during the early 1940s as a means of cracking the Enigma codes… Here the pressure of time is at its most compressed. Two contra-punctal images were shot only recently, backstage moments of Touch 30 situations which as historical events, pale in comparison – they are just personal, memories in a flash.
30 years and counting is a filmic/time-based response from a collective of artists who have made a distinct impression on contemporary music and the way things go. Fennesz, Eleh, Hildur Gudnadottir, Chris Watson, Philip Jeck, Biosphere… We should really list everyone. That’s what they try and do on hip-hop albums.
We started with cassettes; this project commenced as a dedication to vinyl rather than digital, a question concerning the art of recording. 30 years and counting is a manifesto after all these transformations. It is available on CD and download. The vinyl flares with the crackle of the present." [Jon Wozencroft, November 2012 / label info]
www.touchmusic.org.uk
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2012 |
€24.50 |
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DRONE-MIND // MIND-DRONE Vol. 2 (SOLD OUT) |
LP |
DRONE-MIND // MIND DRONE - Volume 2 -
This LP-series from Drone Records is dedicated to the Drones of the World, and the Drones of our Minds. A kind of continuation of the Drone 7"-series but on a more user-friendly format. Each LP features four artists from the international drone-scene and is limited to 500 copies and pressed on four different vinyl-colours. Each LP artwork will feature paintings by British painter PETE GREENING. This series shows the various sides of todays experimental drone-music. The title symbolizes the interaction between sound of the Eternal and our psyche and raises questions: Can Drones (or sound per se) be regarded as "intelligent"? Does every mind produce a Drone? Isn't it possible that any organic or non-organic entity produces a Drone? Drone Music is seen as more than a mere 'music style', it expresses an approach to perceive & understand the world. DRONE-MIND and MIND-DRONE build a circle of diverse inter-relations. The Drone as a metaphor for everything that vibrates, that releases energy - from atoms and elementary particles to the hum of the earth and the universe. The Drone as an entity that connects everthing that exists within our own "mind-space", perception and self. Four "Drones" on one record! The second Volume (MIND-02) ist OUT NOW ! (December 2012) and features:
YANN NOVAK / STROM NOIR / EMMA YA / KARL BÖSMANN
YANN NOVAK (U.S.A.): minimal transcension drones
The records starts with a fabulous - silent but dense - drone piece by Californian sound & installation artist YANN NOVAK (coming from L.A.), the first in a series of compositions using the 'silence" of vinyl endgrooves, indeed a perfectly sublime start for a a vinyl release dedicated to drones.
STROM NOIR (SLOVAKIA): shimmering elation drones
STROM NOIR encharms with two stunning 'elation" drones based on guitar harmonics, beautifully shimmering like light radiances - this Slovakian artist is also active with his true DIY-label Black Orchid Productions.
EMME YA (COLOMBIA): sigil dissolution drones
EMME YA is, after the EPs by REYNOLS (DR-42) and C.D. (DR-63) the third ever artist from South America on Drone Records. These 'esoteric' suction sounds are created as 'sigil dissolutions', meaning the unification of sonic sigils with our deeper minds. Mysterious, intense, haunting...
KARL BÖSMANN (GERMANY): post industrial / electronic drones
Behind this project with the odd name we find a german sculptor who attracted lots of attention with some remarkable releases of very unusual & daring drone-based collages - his track for MIND-02 named 'Die Verwandlung' is inspired by Kafkas short story of the same name and stands out as a powerful & threatening & even rhythmic tour de force undergoing dramatic changes from the beginning to the end.
= four projects that differ considerably from each other, but united through the idea of the power of the Drone.
~ ~ The drones of their minds "materialized" ~ ~ The "intelligence" of drones materialized ~ ~
4 Vinyl-colours: RED & BLACK MIXED // SOLID SILVER MIXED WITH BLACK // WHITE, SOLID BLUE & TRANSPARENT GREEN MIXED // CHRYSTAL CLEAR WITH BLUE AND BLACK
Mastered by Sergey Uak-Kib http://kshatriy.pro/
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2012 |
€15.00 |
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Epicurean Escapism II |
CD & DVD + book |
"On the occasion of the second Epicurean Escapism Festival 15th of June 2013 in Berlin a CD/DVD compilation was released, including a CD with exclusive tracks by the performing artists KE/HIL, POST SCRIPTVM, ANEMONE TUBE, DIETER MÜH and TREPANERINGSRITUALEN, a DVD by CON-DOM with super 8 short films and experimental movies created by Mike Dando in the 1980s to early 1990s and finally digitally restored in 2013 and a 20-page catalogue with essay and artworks by ALEX TENNIGKEIT, ANDREW LILES, CARMEN BURGUESS, DENNIS RUDOLPH, PHILIP BEST & RUDOLF EB.ER.
'Epicurean Escapism II' CD, playtime: 53 minutes:
1 Ke/Hil - Dark Germany 3:55
2 Anemone Tube - Apocalyptic Fantasy 3:20
3 Anemone Tube - Accumulations 8:44
4 Post Scriptvm - Leprous Driver 7:42
5 Trepaneringsritualen - Vanärat Är Ditt Namn 3:29
6 Trepaneringsritualen - End Of Flesh 5:10
7 Dieter Müh - Bethlehem 20:34.
Con-Dom - 'We Who Were Living Are Now Dying' DVD, playtime: 55 minutes:
1 Impressions of a System 6:12
2 The Coming of Christ 13:35
3 Our Pleasure In The Pain/Vilification 8:42
4 All In Good Faith 1 14:18
5 All In Good Faith 2 (Get Right With God) 6:52
6 Hunger For Death 5:57." [label info]
www.silkentofu.org
|
2013 |
€22.00 |
|
|
MV X : Monochrome Visions 2004 - 2014 |
3 x CD |
"In 2014, Monochrome Vision label turns 10 years old, for this event we conceived the special project, which is this compilation with contributions of all artists ever produced. This triple CD set contains 48 exclusive tracks, total duration is almost four hours of music.
Release date is 28th July 2014. Limited edition of 500 copies in eight panel digifile."
www.monochromevision.ru
"...And then, Monochrome Vision has been around for ten years. The main interest is to release music from the 80s underground, sometimes old and sometimes new music by old people and as such, topped with nice black and white artwork, this label has provided me with some true surprises, such as Falx Cerebri or Rafael Flores, but also summing up the best around. Oh, speaking about summing up, I can best sum up who's on here and you will have close to four hours of the finest encyclopedia of current 'noise' music, and much beyond. We have here: Laurent Pernice, Cisfinitum, Miguel Ruiz, HHTP, Rafael Flores, Kinetix, Maurizio Bianchi & Siegmar Fricke, Lieutenant Caramel, Das Synthetische Mischgewebe, Frank Rothkamm, If Bwana, Asmus Tietchens, Y-Ton-G, Kohei Matsunaga, Batchas, Falx Cerebri, Vox Populi, Pacific 231, Gen Ken Montgomery, Arcane Device, Freiband, Nikita Golyshev, Trance, PBK, Bardoseneticcube, Francisco Lopez, Tomas Phillips, Kiyoharu Kuwayama & Hideaki Shimada & Kiyoshi Mizutani, Jason Kahn & Richard Francis, Bernard Donzel-Gargand, Les Syndicat MMX, @C, Karl Bosmann, The Oval Language, Simon Whetham, Factor X, Artificial Memory Trace, Thanos Chrysakis, Mystery Hearsay, Watercoloured Well, Roel Meelkop & Mecha/orga, Yannick Franck, THU20, Julien Ottavi, Umpio, Sigillum S, Architects Office. Lots of electronic music from the world of computers and laptops, but bands like Vox Populi and Trance are certainly most welcome odd balls in this lot. Close to four hours of great music, erm what more do you want? Onto the next ten years of monochrome vision!" [FdW/Vital Weekly]
|
2014 |
€20.00 |
|
|
DRONE-MIND // MIND-DRONE Vol. 4 (VERY LAST COPIES!) |
LP |
DRONE-MIND // MIND DRONE - Volume 4 :
"travelling with Drone Records around the world to the MINDs of artists creating drones... "
This LP-series from Drone Records is dedicated to the Drones of the World, and the Drones of our Minds. A kind of continuation of the (almost legendary) Drone 7"-series, with artwork based on huge paintings by British artist PETE GREENING.
The series shows the various sides of todays experimental drone-music.
Drone Music is seen as more than a mere 'music style', it expresses an approach to perceive & understand the world. DRONE-MIND and MIND-DRONE build a circle of diverse inter-relations. The Drone as a metaphor for everything that vibrates, that releases energy - from atoms and elementary particles to the hum of the earth and the universe. The Drone as an entity that connects everthing that exists within our own "mind-space", perception and self.
Four "Drones" on one record! Volume Four (MIND-04) is OUT NOW (May 2015) and features: KIRILL PLATONKIN / JEREMIE MATHES
ILIOU PERSIS / ROMAN KHARKOVSKY
KIRILL PLATONKIN : emotional power drones of a higher beauty
This artist from Blagoveshchensk (the very east Amur region of Russia) excites with two Guitar-Drone pieces showing a very 'direct' mixing (no fading), revealing a highly energetic, yet completely elevating character...."a free interpretation of a magic flight on some air or space transport" (the artist's description about one of the tracks).
JEREMIE MATHES: cavernous metal tank drones
A drone newcomer from France (who is currently living in Cambodia) with so far three great releases on Mystery Sea / Basses Freq. - using field recordings as a basis... on "Uunartoq Qeqertop", his contribution for MIND-04, we hear raw materials that were collected in an reverberant metal tank, reaching out for "density, emptiness, accumulation, disintegration, evolving with altered collages and processed sound from the original material " [Jeremie Mathes]
ILIOU PERSIS: surrealistic drones inspired by the psychology of masks
"... an enormous amount of power appears to explode from some silent part of my brain and I look at myself behaving more animalistic than an animal, less human than a walking god." [quote from the artist]
A highly interesting musician and anthropologist from Portugal is behind this project who is fascinated with the culturual & psychological implications of MASKS, which can transform the carriers consciousness in a strong way. The long track for MIND-04 is a journey into fascinating subconscious areas transformed into sound.
ROMAN KHARKOVSKY: melancholic nightshade drones
With this pseudonym we welcome the very first artist from South Asia (Pakistan) on Drone Records, who is closing the new Drone-MIND circle with two wonderful melancholic drift & dreamscapes, phantasizing about the nightly atmosphere at the bank of a certain river in the Ukraine..."Roman Kharkovsky is an entity of higher spiritual intelligence that belongs to Kharkov, city of Ukraine, and keeps playing music through the winds of Kharkov to Dnieper river to carpathian mountains and all the way to the black sea." [quote from the artist]
FOUR VINYL COLOURS - each 100 x: TRANSP.GREEN & SOLID YELLOW MIXED // SOLID BLUE & BLACK MIXED // BLUE AND YELLOW MIXED // TRANSP. GREEN & BLACK MIXED
Graphic Design by Tilmann Benninghaus with UV gloss cover using two paintings by PETE GREENING
A limited edition of 400 copies - // listen: soundcloud.com/drone-records
order: www.dronerecords.de
vinyl colours:
Transparent green & solid yellow mixed
SOLID BLUE & BLACK mixed
TRANSPARENT GREEN & BLACK mixed
Blue and Yellow mixed
see here:
www.recordindustry.com/vinyl/colored-vinyl
|
2015 |
€15.00 |
|
|
Now it's dark: DAVID LYNCH tribute |
CD |
"Now It's Dark: David Lynch Tribute" is an album made by Russian experimental sound artists dedicated to the famous film director and musician David Lynch, and produced by the kultFRONT label with the support of Zhelezobeton Distribution Division... The idea of a tribute to Lynch first appeared when Sal Solaris recorded the track "With Me" for "The Black Square" compilation (KF-VI, 2006), using samples from the movie "Twin Peaks: Fire Walk with Me". The digital EP "Lynch" featuring compositions by Tsaraas, DMT and Bardoseneticcube (KF-XVII, 2012) followed several years later but only now the time has come for a full-length album... Eleven projects from the Russian dark underground scene have presented their own visions of the mysterious and meditative atmospheres pervading the works of the American tenebrous genius: Reutoff, Light Collapse, Dvory, Skripp, Wunderblock, Relic Radiation, Kryptogen Rundfunk, Sal Solaris, Arcuation, Povarovo and DMT... Overall sound mastering was done by Arnold_pR (Reutoff). Artwork of the 6-panel digipak features a fragment of the painting "Special Agent Gorgon Cole" by Chris Mars. The edition is limited to two hundred copies.
|
2016 |
€13.00 |
|
|
A Taste of MOLOKO PLUS / 1996-2016 |
do-CD |
A TASTE OF MOLOKO PLUS (1996-2016)
Format: 2 CD, Digipak, Download
Country: Germany
Released: 02.09.16
Genre: Alternativ Rock, Electronic
Style: Ambient, Industrial, Experimental, Drum & Bass, Dub, Rock & Roll, Plunderphonics, Darkwave, Cut Up etc.
Compiled by Rex Joswig
Artwork by Robert Schalinski
00 CD 1
01 Happy Anniversary
00 by The Excellent Listener 01:52
02 The Silencer
00 by The Hidden Sea 04:38
03 / 09 / 13 Take 1 / 2 / 4
00 by Jürgen Ploog 00:37 / 01:27 / 01:09
04 100° In The Shade
00 by The Fatal Shore 04:55
05 Sehn=Sucht
00 by Herbst In Peking 06:59
06 Backbone Break
00 by R. Stevie Moore 00:50
07 Baby, Scratch My Back
00 by R. Stevie Moore 03:05
08 Dan The Man From Ampellang
00 by Dim Locator 04:42
10 Resurrection Day
00 by Phil Shoenfelt 04:07
11 Imagine This
00 by Krohn Jestram Lippok 02:54
12 Immer Wenn Es Regnet
00 by Herbst In Peking 04:54
14 Drowning Fool
00 by The Hidden Sea 06:28
15 Wild Is The Wind
00 by The Fatal Shore 04:27
16 Time Bells
00 by Project Skull 04:46
17 Pee. Bee. Woman
00 by Badphish 06:51
18 Moos & Berge
00 by Britannia Theatre 08:13
19 Dunkler Shanty
00 by Herbst In Peking 03:11
20 Some Sunny Day
00 by The Excellent Listener 03:17
00 CD 2
01 Sadelectricity
00 by Mimetic 03:27
02 East 17 (dad version)
00 by Column One 06:27
03 Loop
00 by Medusa 04:48
04 / 16 Half Life / Storm Troopers
00 by De Fabriek 00:39 / 00:42
05 Warm Leatherette
00 by Machine de Beauvoir 03:06
06 / 19 Take 8 / Take 9
00 by Jürgen Ploog 00:50 / 01:12
07 Rydike
00 by Marc Wannabe 04:15
08 On The Road
00 by Gerome Nox 05:51
09 Quantum Insert
00 by Alfred 23 Harth & Wolfgang Seidel 03:32
10 1867
00 by Delphium 02:59
11 Douce Vie (Mimetic rmx)
00 by Herbst In Peking 05:02
12 Future
00 by Shroom & Al.x 04:43
13 Words
00 by The Excellent Listener 00:56
14 My True I
00 by The Same 05:43
15 The Right To Doubt It (edit)
00 by Column One 04:44
17 Am Abhang
00 by The Same 04:49
18 Pathology Cut
00 by Project Skull 01:15
20 Es Gibt Keine Freiheit
00 by Herbst In Peking 09:47
21 Auf Matrosen
00 by Automatic Noir 03:53
www.molokoplusrecords.de
|
2016 |
€15.00 |
|
|
'... that first Season' - A Winter-Light Compilation |
do-CD |
We invited 16 specific artists from all corners of the globe to contribute exclusive tracks for “…that first season”. Many of the artists are favourite listens of ours, as well as the addition of one or two new and interesting ones. The resulting compilation of tracks offers the listener a unique perspective from each artist based upon the one common theme - the winter light.
It was always an interesting idea to us to see how this theme would play out from different parts of the world, across both hemispheres and on different continents, with different styles of ambient and artistic approaches. All of the submitted tracks have been included on this double compilation and our expectations have been exceeded with the quality, the variety of rich sounds and depth of the music. Spanning across two discs, Heavy Snow and Long Shadows, Winter-Light and the participating artists are pleased to offer over 140 minutes of exclusive music, brought together for the first time on this, our first compilation.
The artwork has been produced by Midnight Sun Studio and all tracks have been mastered by Simon Heath. All music recorded in 2016.
We would like to extend a heartfelt thank you to everybody who has contributed to making this release possible. Dedicated to our Ezzy.
The DCD comes in a 8-panel full colour digi-pack and is also available as a digital download. Strictly limited to 500 copies.
CD1: Heavy Snow
1.1 Seetyca - The Stars
1.2 Gydja - Krapadrífa ok snáka sótt
1.3 Phantom Ship - Entanglement (version)
1.4 Foetusdreams - Ignis Fatuum
1.5 Nexus Sun - Estive
1.6 ABBILDUNG - Om Ter Om
1.7 Charadriiform & Filivs Macrocosmi - Drifting Stations
1.8 VelgeNaturlig - Golden
1.9 Rapoon - Tal-Gel Isolde
CD2: Long Shadows
2.1 Jeff Stonehouse
2.2 Havdis - Borea
2.3 Apocryphos - Sesam In Winter Lights
2.4 Strom Noir - Not Everything Dies
2.5 Kloob - A Special Glow
2.6 Michael Brückner & Mathias Grassow - ,,The Fall Of Leaves''
2.7 Hakobune - Shimoyo
www.winter-light.nl
"Apart from the high quality of the music itself, this compilation is very special for at least two different reasons. One, the cohesive character of the whole thing which sounds, well, maybe not as if it has been composed by a single artist, but rather as a group of musicians from various parts of the world, gathered under one idea, understood 100% by each and every one of them. And two, the diversity of the projects presenting different approaches within the ambient framework. Where else would you find purely dark ambient outputs like Abbildung or Apocryphos going hand in hand with Hakobune or Strom Noir, which are not affiliated with the dark scene, plus the emotional drone masters like Havdis and Mathias Grassow on top of that.
Most of them have been present on Santa Sangre with their full albums in the past. I don’t know if there’s a point in detailed descriptions of the tracks one by one, because here it’s all about nuances; nuances that sometimes are more significant, sometimes less, sometimes are very tiny, but it is they which make each project unique. Let’s try to point out these nuances then – just bear in mind that the atmospheric basis is the same for all of them. Organic drones by Seetyca that make you feel like you’re deep under water, warm microglitches and delicate synths by Gydja that make me like this composition more than her darker or more ritual offerings. Vast cosmic howls by Phantom Ship, that don’t have the most original feeling in the world, but they swallow your body and soul and take you straight into the void. The monolithic blackness of Foetusdreams which reminds me of the familiar monument from ‘2001: Space Odyssey’ hovering over the surface of the moon. The gloomy majesty of Nexus Sun which is reminiscent of the image of mountain summits touching the grey sky. The disturbing field recordings and dense bass backgrounds by Abbildung, sounding like a perfect aural illustration of the “Hell” segment of “The Garden of Earthly Delights” by Hieronymus Bosch. Slow synth melodies and surreal samples from some Russian radio broadcast by Charadriiform & Filivs Macrocosmi, which are like lost signals and transmissions floating over the Siberian nowhere. Semiacoustic solace by Velge Naturlig that reminds you that there’s a day after each night, and the sun will always appear after the harshest snowstorm. The Middle Eastern mystery of Rapoon which in five minutes tells the story of the thousands of uneasy years of that region.
This is how “Heavy Snow”, the first half of this double CD ends, while the second half, entitled “Long Shadows”, begins with Jeff Stonehouse who has something in common with Seetyca: organic, influenced by the sea, though less dark. And even more minimal. After that, the sad beauty of ‘Arctic Nature’ by Havdis, who is probably the most underappreciated ambient artist on this planet. The longest and most beautiful piece on “…That First Season”. Apocryphos comes from the USA, but continues in the path taken by Havdis in the preceding track. The artist’s emotional, slowly forming melodies keep you frozen and in awe. Trance guitar drones by Strom Noir make me long for Autumn. Spatious and windy textures with subtle oldschool synth sequences by Kloob may recall some of Atomine Elektrine’s works. Combining ethereal drones with classic, space (quite Schulze-esque) electronica by Michael Brückner & Mathias Grassow prove that Mathias is simply the best in this spiritual ambient business, and that inviting his more Berlin school-oriented colleague to collaborate on this track wasn’t a misguided idea at all. Calming serenity by Hakobune, which makes “Shimoyo” an accurate ending of this almost two-and-a-half-hour long compilation.
Nature, sadness, the interchange of seasons and weather conditions: this is why I like ambient music the most, and this is what I get here in excess. Surely one of the best compilations released over the past few years. And I consider it as a crowning of the first cycle of the Winter Light label’s activity. Why am I sure that only great things are to come from the Netherlands?" [Stark/Santa Sangre]
|
2017 |
€16.00 |
|
|
Projekt Neue Ordnung II |
4 x LP BOX |
Projekt Neue Ordnung was the 1st and only Compilation done by Tesco Organisation. It was released in 1990, and in 2017 is the year of Tesco´s mail-order 30 years anniversary. Like at that time this compilation features contemporary and new projects. Some projects that you might have never heard of before, or you will never hear of after. It combines artists that are currently producing high class material off which we never had the chance for a full-length release before and bands that are awaiting the listeners attention and highly deserve it. The project is an international one and has started with its compiling in late 2015 - now is the time! All bands are presenting their view on Projekt Neue Ordnung and have supplied some magnificent artwork assembled in DIN A4 fullcolor booklet. The music presented here ranges from abstract concrete sounds, dark drone ambience, post industrial, power electronics to noise music. As multi-shaped as it is, it is! Compilations have been the main entrance to new project, to extend the musical knowledge and give room to new concepts. We wish this time to come back again and have no presented our idea of how it can be...
featuring: AM NOT [UK], ALFARMANIA[SE], AUSSTRÖMEN[UK], BODY CARGO [LT], CADLAG [SI], DEATHPANEL [DE], DUST BELT [US], GEOGRAPHY OF HELL [US/FR], GRAUSTICH [AT], GRIEFER [CA], GRUNT [FI], ILL [DE], JAAKKO VANHALA [FI], KE/HIL [DE], K.I.A. [PT], LEBENSFADEN [JP], :M: [US], PAIN NAIL [FI], PUCE MARY [DK], PTERYGIUM [UK], ROPE SOCIETY [AU], RUSALKA [CA], RUSHA [DE], SALFORD ELECTRONICS [UK], SCRELOMA [JP], SHIFT [UK], S.T.A.B. ELECTRONICS [UK], SVARTVIT [NL], THE TRAINABLES [UK], TOTRAUM [HU], WERTHAM [IT]
The box presentation follows the graphical art of the 1st PROJEKT NEUE ORDNUNG - the printed box houses the 4 LPs including a lavish printed full color A4 booklet and is numbered to only 500 copies. Nearly 160 minutes of music that awaits your exploration.
www.tesco-germany.com |
2017 |
€78.00 |
|
|
DRONE-MIND // MIND-DRONE Vol. 6 : NAM-KHAR, FOR KINGS AND QUEENS, MARKIAN VOLKOV, KEVIN DURR |
LP |
Four "Drones" on one record! Volume SIX (MIND-06) is OUT NOW (Nov. 2017) and features:
NAM-KHAR ҉ MARKIAN VOLKOV
FOR KINGS AND QUEENS ҉ KEVIN DURR
NAM-KHAR: (Germany): A German collective being influenced by Tibetan philosophy, working in the 'old school' way using analogue electronics and original instruments from the Far East, for the first time on vinyl. The two conjoined tracks consist of dense analogue expanses that wave and move minimally, sparse metallic object sounds and wheezing winds, plus delicate percussion. Very best ethno ambient drone!
MARKIAN VOLKOV (Italy): This completely anonymous project from Italy excites with hypno-percussive, tribalesque and droning ritual industrial, repetitive structures and samples immersing into echoes and electronic noises with great effect. The two tracks presented share a most captivating tension and power.
FOR KINGS AND QUEENS (Germany): After some very promising self-released CD-R's the long track 'Grenzland' (borderland) is the first vinyl appearance for this Berlin-based project [a couple with a professional opera singer], - a deeply surrealistic soundscape with layers of high-pitched sinus tone drones and waves, unreal female voices appear and slowly metallic drones burst in and whirring shortwave radio sounds.
Welcome to the borderlands of reality...
KEVIN DURR: (USA): Field recordings of water (streams, rain and environment) and vocal whispers seem to be the only sound sources for two highly suggestive, almost caressing nature drone pieces, transformed through clever processing. KEVIN DURR hails originally from Alaska and has been active in various musical project and genres before, before he started the 'water drone' project with a series of of tracks using especialy water sounds combined with binaural recordings techniques and ASMR (Autonomous Sensory Meridian Response) = two most subtle and fascinating acoustic landscapes.
Amazing cover-art by TILMANN BENNINGHAUS with true 3D effect (using extra golden pantone colour), comes on BLUE-VIOLET TRANSPARENT VINYL, as usual two existent paintings by British artist PETE GREENING have been used (www.redbubble.com/people/petegreening); lim. 400 copies.
listen: soundcloud.com/drone-records
www.dronerecords.de
artworkers:
www.redbubble.com/people/petegreening
www.benninghaus.org
artists:
www.facebook.com/Nam-khar-115680475169685/
https://soundcloud.com/arkianolkov
https://forkingsandqueens.bandcamp.com
https://soundcloud.com/evinurr-ieldecordings
|
2017 |
€15.00 |
|
|
Your Reality is broken |
LP |
A compilation of covers, reinterpretations and/or transformations of Contrastate tracks in celebration of their 30th anniversary. The inivitation to participate was limited to a select few artists who have over the years, in some shape or form, worked with Contrastate. Track A1: Recorded in 2016. The original piece "The People Who Read The Books" was from 1997 concerts in Erlangen, Muenster and Nevers. Track A2: Recorded in 2016 Track A3: Recorded in March 2017. Sound sources: "As Time Began", "Thirst For Knowledge", "A Thousand Badgers In Labour" and a self played cover version of "An End marked By Pessimism". Track B1: Recorded in 2017. The track originates from the album "A Breeding Ground For Flies". Track B2: Recorded in 2017. Sound sources: English Embers/In Absentia - plus original material Track B3: Recorded in 2017. Includes a printed inner-sleeve. Front cover artwork: "Das Tier ist tod" Back cover artwork: "Perinatale Grundmatrix I" Insert artwork: "Tre uomini sulla croce"
Tracklist Hide Credits A1 –Contrastate The Peolple Who Control The Information Recorded By – Contrastate 5:00
A2 –RLW Goodbye Great Nation 2016 Recorded By – RLW 7:31
A3 –Troum An End Marked, As Time Began Recorded By – Troum 6:21
B1 –Genocide Organ / Contrastate Son Of Sam Recorded By – Genocide Organ 5:46
B2 –Band Of Pain Re-establishing Beams (#9) Recorded By – Steve Pittis 6:09
B3 –État D'Urgence (2) Assassinate En Arrière-Plan Recorded By – État D'Urgence (2) 5:24
"Ever since their inception in the late 1980s, this UK project has simultaneously dabbled both in the worlds of musique concret and harsh electronics; two styles that are undeniably similar but have very few in the way of crossover artists, all with a distinct sense of irreverence. Active again after a lengthy hiatus in the early part of the 21st century, Your Reality is Broken is another piece of work that successfully blurs unnecessary lines; in this case if it is a tribute album to them, a remix collection, or a compilation of collaborations. In truth, it is all of these things at once, and it is excellent.
There are only five artists who were invited to participate in this release, each providing one piece that is either a reworking of Contrastate material, a collaboration with them, or in the case of the opening piece, Contrastate covering themselves. The remainder of Your Reality is Broken are artists that also work between those two aforementioned stylistic poles: RLW, Troum, Genocide Organ, Band of Pain, and État D'Urgence.
Contrastate’s self-reflexive contribution, "The People Who Control the Information," is built upon a different piece that was previously only performed live in 1997, "The People Who Read the Books." In its opening moments it is largely a spoken word performance, with ringing electronics filling the otherwise wide open spaces around the vocals. Sharp, grinding electronics tear through and hints of rhythm appear, which eventually solidify into an almost reggae like beat. By the time it all comes together, it is a bizarre combination of noisy electronics, spoken word, and dancehall beats; a strange combination no doubt, but also one that works very well.
Troum's "An End Marked, as Time Began" is constructed by the legendary drone act from three existing Contrastate works plus their own cover of "An End Marked By Pessimism." Besides the aforementioned song, this is pretty much the other most musical piece here. Troum blend the existing recordings into a sustained wall of cavernous sound, making for a murky and somewhat oppressive sonic feel. With snatches of voice peppered throughout and swirling strings later introduced, it comes together in a surprisingly melodic and classical-tinged form.
"Son of Sam" is a reworking of the same titled composition from the band's 2012 A Breeding Ground for Flies album that is credited to both Genocide Organ and Contrastate on the sleeve, so I am not sure if it is a collaboration or a reworking, but it is distinctly GO in sound. This is the modern day form of the legendary band, which is less about intentionally lo-fi noise and more atmospherically bleak. The treated and flanged vocals are of course there, as is the droning, abrasive Korg MS-10 synth, but the whole piece is very clean and well refined, more depressive than aggressive. Steve Pittis' Band of Pain uses material from English Embers and In Absentia to build "Re-establishing Beams (#9)": a mélange of echoing thuds and jarring, drill-like electronics that are at first right in line with old school noise sensibilities but eventually goes in to more restrained, subtle places.
Ralf Wehowsky (as RLW) and État D’Urgence each supply the more disturbing, discomforting tributes on this record. The former's "Goodbye Great Nation 2016" is a pairing of churning sub bass and piercing high frequencies that, while somewhat minimal at first, convey a splendidly sinister mood. Fragments of voice and chimes are weaved in, and with the random voices and mangled piano, it is an entirely disorienting and uncomfortable sounding composition. The latter’s "Assassinate En Arrière-Plan" is another where vocals are up front and demonically processed, making for the most sinister and horror-esque moments of this record.
Your Reality is Broken is a bit of an odd compilation, but one that is undoubtedly Contrastate, and the artists selected all reflect this idiosyncratic approach just as well. All of the artists contribute excellent reworkings or inspired pieces, but I also appreciate the classic compilation feel to the record. The mix of artists, the presentation, the style, it all reminded me of classic albums like the Rising from the Red Sands series or albums put out by RRRecords a few decades ago. It simply hits all the right buttons from beginning to end." [Creaig Dunton / Brainwashed]
|
2017 |
€20.00 |
|
|
DRONE-MIND // MIND-DRONE Vol. 7: OPENING PERFORMANCE ORCHESTRA, MYTRIP, SKELDOS, SPECIMENS |
LP & CD |
...finally a new issue in our "drone-explorers" LP-series, for the first time with full bonus CD!
Featuring: SKELDOS (the new drone-melancholia phenomenon from Lithuania), OPENING PERFORMANCE ORCHESTRA (Prague - incredible dense and tight drone waves with scientific approach - full length/different version of their piece on the bonus CD), enchanting guitar/field recording drones from London based SPECIMENS, and MYTRIP from Bulgaria continues his mission to create timeless expanses of pulsing, spectral synth drones..
DRONE-MIND // MIND-DRONE - Volume 7 LP + CD
The series shows the various sides of todays experimental drone-music.
This LP-series from Drone Records is dedicated to the Drones of the World, and the Drones of our Minds.
A kind of continuation of the Drone 7"-series, with artwork based on paintings by British artist PETE GREENING.
Drone Music is seen as more than a mere 'music style', it expresses an approach to perceive and understand the world. DRONE-MIND and MIND-DRONE build a circle of diverse inter-relations. The Drone as a metaphor for everything that vibrates, that releases energy - from atoms and elementary particles to the hum of the earth and the universe. The Drone as an entity that connects everthing that exists within our own "mind-space", perception and self.
Four "Drones" on one record! Volume SEVEN (MIND-07), for the first time with full bonus CD, is OUT NOW (05/2019) feat.:
SPECIMENS ҉ SKELDOS ҉ MYTRIP
OPENING PERFORMANCE ORCHESTRA
Behind SPECIMENS we find the London based ambient/drone artist Alex Ives. His productions pull together delicately arranged but often highly driven cassette loops, synth layers and field recordings as well as often employing wider instrumentation such as organ drones, guitar swells & saxophone hidden beneath the noise. Two excellent LPs have been released so far on his own label First Terrace Records and SVS Records.
Alex Ives also co-hosts a monthly experimental radio show on Resonance Extra.
For MIND-07 we present three shorter SPECIMENS pieces: these raw, somehow perforated drones with lots of atmospheric noise remind on PETER WRIGHT or early TIM HECKER, creating a truly absorbing mood.
SKELDOS: This "drone-melancholia" phenomenon (active since 2011) doing "abstract, longing, flowing soundscapes with tender touch of a distant melody" from Lithuania breathed out one long track that befogs everything in sadnesss and emotion, built on waving sounds from accordeon, voice and other instrumental sources, slowly unfolding into multiple layers. The title of the track "Byra" means 'falling' or 'crumbling' and is encrypted through this fragmented sentence: "...or listening to the things you have barely touched falling... (sls.III)", coming from a never-ending sentence which was started with the first SKELDOS album.
MYTRIP from Bulgaria has been characterized by Tiny Mix Tapes with the phrase "ambient music as a weapon" and is surely standing at the forefront of the vivid electronic/ambient/drone scene there, active since about 10 years with the AMEK label. Two tracks of swirling and pulsing spectral synth drones show the newest development of the project, founded on "more melody-driven and textural soundscapes, where blurry rhythmic patterns meet with organic field recordings, found sounds and deconstructed instrumentation."
OPENING PERFORMANCE ORCHESTRA: Something very special is also the last act on MIND-07, O.P.O. from Prague, with a 12min. 'especially mastered for vinyl'-version of 'Creeping Waves', the FULL version (70 min.) of this piece is placed on the bonus CD. An incredible dense and steadily fluctuating drone expansion, based on the Creeping Wave theory, applied to acoustic phenomena: "According to the principle of diffraction, when a wave front passes an obstruction, it spreads out into the shadowed space. A creeping wave in electromagnetism or acoustics is the wave that is diffracted around the shadowed surface of a smooth body such as a sphere. Creeping waves greatly extend the ground wave propagation of long wavelength (low frequency) radio. They also cause both of a person's ears to hear a sound, rather than only the ear on the side of the head facing the origin of the sound. In radar ranging, the creeping wave return appears to come from behind the target."
cover-art by TILMANN BENNINGHAUS using two paintings by British artist PETE GREENING
Edition of 400 copies on TURQUOISE coloured VINYL. Mastering by PETER ANDERSSON
listen: soundcloud.com/drone-records order: www.dronerecords.de
Title: DRONE-MIND//MIND-DRONE Vol. 7
Track title Track time
Track 1 SPECIMENS - Broken Beams 5:16
Track 2 SPECIMENS - First Flight 3:58
Track 3 SPECIMENS - Over the Great Island 3:35
Track 4 SKELDOS - Byra 10:42
______________________________________________________________
Side B
Track title Track time
Track 1 MYTRIP - Death is my Heaven 4:24
Track 2 MYTRIP - I stood still 6:59
Track 3 OPENING PERFORMANCE ORCH. - Creeping Waves III 12:00
|
2019 |
€18.00 |
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F/EAR THIS! |
BOOK + 2 x CD |
"F/Ear This!" was originally a double album compiled at the end of 1986 and released in 1987 by PEACE, a completely informal gathering of ziners, activists, musical groups and small Italian record labels which included Blu Bus (Franti, etc.), Particolare Music (Plasticost), Rockgarage, Trax (Vittore Baroni, Piermario Ciani, etc.), UT / Communications (Giacomo Spazio), Catfood Press (Marco Pandin) and Tunnel Records (Detonazione).
Marco Pandin was responsible for collecting the material. The idea for the title was born from Vittore Baroni, who also assembled a 28-page A4 booklet using some of the graphic art sent to him by some of the various musicians participating to the compilation, and adding images taken from the Trax archives. "F/Ear This!" was released on vinyl and on cassette. All the proceeds were destined to support "A/Rivista Anarchica" anarchist magazine.
"It was decided to not reveal the list of participants on the cover: this was not going to be a 'regular' compilation. The idea behind "F/Ear This!" was to put together - asking for help from friends musicians, graphic artists and poets scattered all around the planet - contributions connected, or somehow linkable, to a common theme: "fear". Fear was something we all lived and shared, like being poisoned and feeden black bread on a daily basis: let's do something then, let's protest, let's turn the volume up. We tried to spread the news and rally, to pass the word and share the sense of alarm.
The work done then was digitally reproduced, respecting its integrity as much as possible. The audio was restored from the original reels and cassettes, and some tracks which were originally left out were added. The new layout includes a 48-page 8" booklet with original artworks and also some new works done for this edition.
store.silentes.it/catalogue/sn202001.html
|
2020 |
€20.00 |
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Dies Natalis Invicti Solis |
CD |
To assist in your solitary winter rituals…
Dies Natalis Invicti Solis was conceptualized and curated by Stephen Petrus in the autumn of 2020.
With love and dedication to Marcus LaBonte.
Photography and artwork by Gretchen Heinel and Lee Bartow.
Graphic design by Derek Rush.
Mastered by Grant Richardson.
Mithras, God of midnight, here where the great bull dies Look on thy children in darkness. Oh take our sacrifice! Many roads Thou has fashioned: all of them lead to the light.
Mithras, also a solider, teach us to die aright! - Rudyard Kipling (350 AD)
Kleistwahr is Gary Mundy
brokenflag.com
ramlehuk@aol.com
Gnawed is Grant Richardson
Recorded beneath the ground and in the dark, September 2020
Gnawed.deathindustrial@gmail.com
ORD
vk.com/ordritual
Contrastate are Jonathan Grieve, Stephen Meixner and Stephen J. Pomeroy
Additional vocals: Lucy Pomeroy
Mastered at Lust Studios.
Copyright: Contrastate 2020
blackroserecordings@yahoo.co.uk
Murderous Vision (Featuring Crow Hill Gnostic Temple)
Stephen Petrus - Electronics, Voice
Pauline Lombardo- Electronics, Voice
murderousvision1.bandcamp.com
livebaitrecording@gmail.com
Crow Hill Gnostic Temple - Invokations
bucklandmuseum.org
Konstruktivists are Glen Michael Wallis and Mark Crumby
konstruktivists.com
konstruktivists@gmail.com
Deutsch Nepal is Lina B. Doll
deutschnepal.bandcamp.com
Envenomist is David N. Reed
Imvixor.bandcamp.com
davidnathanreed@outlook.com
Dream Into Dust is Derek Rush
dreamintodust.com
dreamintodust.bandcamp.com
Failing Lights is Mike Connelly
Additional sounds by Tara Connelly
Set flame to myrrh
Brighter Death Now is Roger Karmanik
brighterdeathnow.bandcamp.com
Theologian & The Vomit Arsonist
Lee Bartow
Annihilvs.org
Andrew Grant
thevomitarsonist.bandcamp.com
thevomitarsonist@gmail.com
https://murderousvision1.bandcamp.com/album/dies-natalis-invicti-solis
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2020 |
€13.00 |
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BRÜSK II - A Compilation of Harsh Noises |
MC |
"BRÜSK" is an equivalent to the german word "harsch" which means something like "scurrilous or filthy. between the tracks you can find voice samples with verbal insults chosen by "Grubenwehr Freiburg"
German Review by "African Paper":
Die Grubenwehr Freiburg, Qualitätsgaranten origineller Geräuschmusik, bringen ein neues sechzigminütiges Tape mit sehr unterschiedlichen Beiträgen aus der Welt des Harsh Noise heraus, bekannte Acts wie The Haters, Carsten Vollmer, Torturing Noise und Bruital Orgasme stehen neben (uns) unbekannteren wie XSchlund, Mai12, SupError, Suport Unit, Dosis Letalis, K.M.A. vs. C.O.C. oder Der verlorene Faden. Unsere Anspieltipps: Outros Outro “Abgestellt”, Flutwacht mit “Grobschloßer” und Der Smogwürger mit seinem Lush Noise-Track “Barfuß durch Hiroshima”. Damit wären alle genannt. Das Artwork stammt von dem Künstler und Illustrator Matthias Kauz, das Layout übrnahm Labelbetreiber David "Grodock", Fotos von Cut-up-Arbeiten Vollmers liegen den Kassetten bei. Vom Label heißt es: “BRÜSK” is an equivalent to the german word “harsch” which means something like “scurrilous or filthy. between the tracks you can find voice samples with verbal insults chosen by “Grubenwehr Freiburg”. Das Tape erscheint in einer Auflage von 50 Exemplaren.
C60 Tape by Grubenwehr Freiburg. Comes with three cards with Fotos of Cut up works by Carsten Vollmer. Cover Art by Matthias Kautz. Layout by Grodock
https://grubenwehrfreiburg.bandcamp.com/album/br-sk-ii-a-compilation-of-harsh-noises |
2020 |
€8.00 |
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DRONE-MIND // MIND-DRONE Vol. 8: AUME, K. ISHIGAMI, HIROSHIMABEND, BALDRUIN |
LP |
Four "Drones" on one record! Volume EIGHT (MIND-08) is OUT NOW (11/2021) feat.:
KAZUYA ISHIGAMI ҉ AUME ҉
HIROSHIMABEND ҉ BALDRUIN
Drone on! We're finally back with a more 'pulsative' and post industrial-influenced issue, presenting the following artists: KAZUYA ISHIGAMI (*1972 / Osaka / Japan) is a prolific composer, engineer, sound designer and performer active for many years (also under the name DARUIN), with broadcasts of his works around the globe. His track 'Clean2020' works on the theme of 'memories" and is based on the idea to accept and acknowledge even the painful memories to reach a state of ease and to transform the subjective past...
AUME is the duo of SCOT JENERIK (23five Inc. / Mobilization Records) and ALEPH OMEGA (ex CHROME), from the US west coast, both also active in F-SPACE before, creating stunning audio-visual 'immersion dark ambience" with true archaic energy..
HIROSHIMABEND (aka 'puppy38') hails from Austin, Texas but has been based in Vienna for many years now, and has impressed with many long-form works in the field of electronic / esoteric emanations, mostly self-released via Opiumdenpluto. He is also active as a visual and mastering artist...- "Listening to the music of hiroshimabend has been likened to swimming in a milky lake of black ink."
BALDRUIN is a German project with a very electronic and musical edge. His pieces appear to be like excursions into a (bad) fairy-tale world.. - "well constructed cosmic ambient-scapes with a dark psychedelic / cinematic / surrealistic touch; when strange voices, subtle percussion and whistling noises enter the scenery.."
Let your MIND be surrounded by adventurous sonic landscapes - organic repetitions as coming from a ghostly otherworld, oriental field recordings, layers of pipe organ-like drones, mysterious electric ether-potentials etc..- "Vier feine Synapsenputzer machen einem mal wieder so manches klar.." [Bad Alchemy}
cover-art & mastering by puppy38 using two paintings by British artist PETE GREENING
https://www.saatchiart.com/Pete_G
Edition of 400 copies on VELVET PURPLE (solid purple and solid red mixed) coloured VINYL.
listen: soundcloud.com/drone-records order: www.dronerecords.de
basic concept:
DRONE-MIND // MIND-DRONE - Volume 8 LP
The series shows the various sides of today's experimental drone-music
This LP-series from Drone Records is dedicated to the Drones of the World, and the Drones of our Minds. A kind of continuation of the Drone 7"-series, with artwork based on paintings by British artist PETE GREENING.
Drone Music is seen as more than a mere 'music style', it expresses an approach to perceive and understand the world. DRONE-MIND and MIND-DRONE build a circle of diverse inter-relations. The Drone as a metaphor for everything that vibrates, that releases energy - from atoms and elementary particles to the hum of the earth and the universe. The Drone as an entity that connects everthing that exists within our own "mind-space", perception and self.
#########################################
"Würden Drone Records den Begriff, der von Beginn an so etwas wie ihr Motto werden sollte, enger fassen, dann wäre ihre Reihe “Drone-Mind // Mind-Drone” wahrscheinlich auf viel weniger Interesse gestoßen und vielleicht sogar eine kurzweilige Angelegenheit geblieben. Stattdessen setzte das Bremer Label von Beginn an auf eine Idee des Drone, die, wie es in einer früheren Besprechung bereits zitiert wurde, pars-pro-toto für verschiedene Arten der Vibration und der Freisetzung von Energie im buchstäblichen wie im übertragenen Sinne stand. Und so sind auch auf dem gerade erschienenen achten Teil der Reihe wieder vier Geheimtipps aus drei Kontinenten vertreten, die die Dröhnung als eine Art verbindendes Element gemeinsam haben, diese jedoch in ganz unterschiedlichem Maß und auf unterschiedliche Art mit anderen Aspekten verknüpfen.
Bereits in der Ankündigung hieß es, dass die neue LP pulsierender ausfallen und Einflüsse des Post-Industrial aufweisen sollte, und den Opener “Clean2020″ des aus Osaka stammenden Sound Designers Kazuya Ishigami kann man da bereits exemplarisch anführen. Der Track, der sich mit dem Thema (auch schmerzhafter) Erinnerugen und ihrer Akzeptanz befasst, entwift ein über zwölf Minuten langes, ansatzweise episodisches Narrativ, das mit Samples und zahlreichen Effekten ein veränderliches Stimmungsbild entwirft. Das an Zikaden (vielleicht nicht nur) erinnernde Zirpen zu Beginn zieht sich durch weite Teile des Stücks, lässt ein durchaus angenehmes Alltagskolorit entstehen, doch ein zwiespältiges Gemisch anderer Sounds – mechanisch anmutendes Klappern, beklemmende Hochtöner, Vögel, das Dudeln einer versteckten Melodie – kommt hinzu, und da die eizelnen Sequenzen in ihrer Dauer und Veränderlichkeit kaum vorhersehbar wirken, ist eine der zentralen Stimmungskomponenten Spannung.
Ein ähnlich veränderliches Soundpanorama entwirft das amerikanische Duo Aume – namentlich Scot Jenerik und Aleph Omega aus dem F-Space-Umfeld. Ihr Beitrag wirft die auditiven Antennen mit rauem Knarren in die Mitte eines Geschehens, dessen Richtung man in den Sprachsamples und dem industriellen Hantieren zunächst noch nicht ausmachen kann. Während es unablässig reibt und schabt und knackt und ein unterschwelliges Dröhnen immer mehr anschwillt und irgendwann den ganzen Raum ausfüllt, treiben die Stimmen einen merkwürdigen Schabernack, scheinen wie Schafe zu blöken, bis alles in Kriegsgeschrei mündet. Doch in der zweiten Hälfte bekommt der Track noch einmal eine überraschende Wendung und prescht mit monoton-rhythmischer Perkussion dem Horizont entgegen.
Insgesamt ist die zweite Seite um einiges “schöngeistiger”. “Puppy38″ des in Wien lebenden Amerikaners Hiroshimabend beginnt mit entrückten Orgelsounds, in die sich ein undefinierbares Summen mischt. Just wenn sich eine hypnotische Wirkung einstellt, setzt eine eindringliche Melodie ein und entführt den entsprechend angefixten auf einen Trip durch einen imaginären Raum voll mit plastischen, knisternden, vibrierenden Sounds und etwas, das wie menschlicher Atem klingt. Hier scheint jede Raumwahrnehmung (bzw. Projektion) so unsicher, das sich kaum sagen lässt, ob die so entrückt anmutenden Sounds nicht doch der Sog eines abgründigen Höllenschlundes sein könnte. Rituelles Pochen holt den Hörer zurück auf vertrauten Boden, wo ein beruhigender Abspann erfolgt.
Baldruin ist das Projekt des deutschen Künstlers Johannes Schebler, der auch musikalisch – sowohl solo als auch mit seiner Band Diamantener Oberhof – sehr umtriebig ist. Seine drei etwas kürzeren Track offenbaren eine Schlagseite in Richtung Psychedelic und World Music eine weitere Facette offenbaren. Fast wie eine perfekte Miniatur führt das mit mollastigen Bläsersounds (einer Duduk?) beginnende “Die Katakomben von Tesco Libra” mit entspannten Handdrums zu einem kleinen Höhepunkt hin, kein Ton ist hier zu viel. Elektronischer und von einer gefahrvollen Spannung durchzogen mutet “Verstecken” an. Die schöne Loungemelodie, die einen mit Lärm, basslastigem Knarren, fiesen Hochtönern und Stimmen gefüllten Raum in einen Traum aus Plastik verwandelt, reizt fast zu einem NWW-Vergleich. Das abschließende “Klima und Psyche” dagegen zeigt Baldruin hier von seiner folkigsten Seite und lässt die Sammlung mit tremolierenden Bläsern, Saitenpicking und klapperden Handdrums in wehmütiger Heiterkeit – falls es so etwas gibt – ausklingen.
Es scheint, als würde dem Phänomen Drone vielerorts eine große Ausschließlichkeit angedichtet: Musik ist entweder Drone oder nicht, und wenn, dann ist sie nur dies. Tatsächlich aber kann Drone sehr unterschiedliches bedeuten und in sehr unterschiedlicher Musik eine Rolle spielen – eine Rolle, die keineswegs an Bedeutung einbüßt, wenn sie ein Aspekt unter mehreren ist. Drone kann den Aufbau einer Musik gestalten, ihre Materialität prägen, eine Musik hypnotischer machen und ihr Rückgrad verleihen, und immer besteht eine starke Wechselbeziehung zwischen dem Dröhnen und dem suchenden, repziperenden und interpretierenden Geist. Dies unter der Formel “Drone-Mind // Mind-Drone” zu vereinen, ist auch beim achten Teil ein starkes Argument gegen alle, die behaupten, Drone hätte sich über die Jahre totgedröhnt." [U.S. / African Paper]
|
2021 |
€16.00 |
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An Oblique Reference to Zeros |
do-CD |
"A budget-priced collection of tracks by artists who've had releases out on Fourth Dimension Records or whose music has entered the label's orbit and made a good impression.
In an ideal world there'd be at least several albums by all concerned on Fourth Dimension Records, but the label operates from more or less the same dingy old basement it always has and subsequently has to limp along in usual fashion.
It is precisely because of this that An Oblique Reference to Zeros has been assembled. The music always comes first and because Fourth Dimension Records does not focus on one particular area of music and instead works with a broad range of artists, the idea of bringing a number of them together on a compilation so that listeners can check out the previously unfamiliar made a lot of sense.
Almost all of the tracks here are previously unreleased, remixes or recorded exclusively for this compilation, too.
Packaged in a 6-panel digipak including stunning artwork by Puppy38 and a booklet with text even pointing to what inspired the title, this is an ideal purchase for anybody whose interests in music dovetail with Fourth Dimension's.
And, no, the title had nothing to do with Eno! Artists include: Kleistwahr, Sudden Infant, Hand & Leg, Mad Masks, MAP 71, Alternative TV, Splintered, Hiroshimabend, Tabata Mitsuru, Richard Youngs, JFK + Klaska, Philippe Petit, Schrottersburg, White Pee, Helm, EXTNDDNTWRK, Zsolt Sores, Theme, Band Of Pain, Contrastate, Mahler Haze, Sion Orgon and Gad Whip."
|
2022 |
€13.50 |
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CYCLES II : Cyclic Law's 20th Anniversary Label Sampler |
do-CD |
In celebration of our 20th year as a label, we've gathered 22 artists on 20 tracks, all graciously presenting us exclusive and unreleased material. Featuring AJNA, ASCENDING DIVERS, ASHTORETH, BECKAHESTEN, CURSE ALL KINGS, DESIDERII MARGINIS, FUNERARY CALL, KAMMARHEIT, LEILA ABDUL-RAUF, NERATERRÆ & DØDSMASKIN, NEW RISEN THRONE & CORONA BARATHRI, NORDVARGR, ØJERUM, SHEDIR, SHRINE, SOPHIA, SUTEKH HEXEN, TAPHEPHOBIA, VISIONS and VORTEX. We’d like to dedicate this release to our worldwide supporters who’ve made this 20 year venture possible and to all artists involved throughout the years, whom with their unique approach to atmospheric music, have helped create the aural world that is Cyclic Law. Artwork imagery is by our close collaborator and friend Kristina Feldhammer.
Double CD Edition of 500 copies in 6 panels Digisleeve with 180x120mm poster, matt lamination. 20 Tracks. Running Time; CD1 56:57, CD2 57:17
https://cycliclaw.bandcamp.com/album/cycles-ii-cyclic-laws-20th-anniversary-label-sampler
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2022 |
€19.50 |
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Bhogavati |
CD |
In recent years, bewildering artefacts have been recovered from their long slumbers in the depths of the world's oceans. Some in the most unexpected of locations. The initiated speak of conclusive evidence of far-reaching global cultures of Naga Kingdoms but modern science hand-waives it all as wistful dreams originating in folklore.
gterma visits some of these locations and journeys alongside Silentwave, Havdis, Indo and visual artist Sinad Jaruartjanapat in an effort to better understand the relevance of these discoveries.
Composed and performed by the artists between 2015 and 2016
Compiled and edited by mr_rehn
Mastered by A.P at Ghostsounds in July 2022
Special artwork for gterma by Sinad Jaruartjanapat
Design and photography by mr_rehn
Back cover photo by Mettaya Wirunpruk
https://gterma.bandcamp.com/album/bhogavati
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2022 |
€13.00 |
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\'Музыкальное Приношение\' (Musical Offering) - |
CD |
listen:
https://coldspring.bandcamp.com/album/musical-offering-csr326cd
Available on CD (or any other format) for the first time outside USSR, five Soviet composers perform their works on the legendary ANS synthesizer.
Recorded in 1971, "MUSICAL OFFERING" is 6 tracks (42 mins) of experiments on the unique machine by: Eduard Artemiev (2 tracks), Oleg Buloshkin, Sofia Gubaidulina, Edison Denisov, and Alfred Schnittke.
"MUSICAL OFFERING" demonstrates a 'musical' machine unlike any other and has long fascinated cutting edge, modern electronic composers, notably COIL and THE ANTI GROUP COMMUNICATIONS (TAGC) / CLOCK DVA, that have both released recordings utilising the ANS.
Try to imagine a score sounding by itself without a conductor; an orchestra without musical instruments. This magic is possible by using the musical ANS synthesizer. Created by Soviet scientist Evgeny Murzin over the course of 20 years, ANS is an instrument with which a composer can not only create but also draw their music without notes. You can see the twinkling of different lamps, the rotation of grooved glass discs... The drawings on the glass are 'sounding notes'. To listen to the drawn picture, press the button and a wonderful transformation will begin.
Inside the ANS are five rotating glass discs with 144 tones printed (by hand) on each one. Light is projected through the discs and onto photovoltaic cellbank which converts the light into electricity and sends signals to the ANS's amplifiers and bandpass filters. The ANS can generate 720 tones this way and, unlike a human musician, play them all at the same time.
Murzin dedicated his photoelectronic apparatus to Alexander Nikolayevich Scriabin, hence the name ANS. Scriabin, the creator of the 'Poem of Ecstasy', and a famous explorer of synesthesia, used in his works a highly chromatic, new type of harmonic style designed to express his beliefs, views and wishes. Soviet music lovers will already know recordings made on ANS from Tarkovsky's films Solaris, The Mirror, and Stalker, Konchalovsky's film Siberiade, and others.
Presented in a digipak with the new artwork by Abby Helasdottir (who also created the compelling promo video), complimenting the ANS process perfectly.
Officially licensed from Russian state label Melodiya.
Watch promo video (YouTube): bit.ly/Musical-Offering
Copyright © – ВТПО "Фирма Мелодия" (Melodiya)
All-Union Recording Studio. Recorded in 1971.
Recording supervised by Юрий Богданов
Mastered by Martin Bowes at The Cage
Track listing:
1. OLEG BULOSHKIN - \'Sacrament\' (3:32)
2. SOFIA GUBAIDULINA - \'Vivente-Non Vivente (Alive And Dead)\' (10:44)
3. EDUARD ARTEMIEV - \'Mosaic\' (4:05)
4. EDUARD ARTEMIEV - \'Twelve Looks At The World Of Sound\' (12:53)
5. EDISON DENISOV - \'Birds\' Singing\' (5:04)
6. ALFRED SCHNITTKE - \'Stream\' (5:57)
######################
"A new batch of Cold Spring CDs, and I must say... At least with one of them, they stole my mathematic sound nerdish heart. "Musical Offering" is a sampler with Russian composers using the ANS, probably entirely up to its limits. Two tracks by Eduard Artemiev and one track each by Oleg Buloshkin, Sofia Gubaidulina, Edison Denisov and Alfred Schnittke. I only knew about Artemiev on this list because of his movie soundtracks. So to hear his work without a movie and, of course, images of empty landscapes, a brutalist-themed forgotten society and demise and a void enter my head, but fair is fair: all images were in colour. Nothing bleak or grey but the richness of the ANS is all over the place.
So for those who don't know what an ANS is all about, it's a Russian synthesizer designed over 20 years by Evgeny Murzin, and there is only one. It works with drawings on glass plates and devices that transform light into voltages, and those voltages create sounds. The glass discs spin, and well ... Wiki / YouTube is your friend here. Many artists have worked with the ANS, including Coil, The Anti Group Communications. Yes, [law-rah] also used original sounds from the ANS on their split with Cisfinitum (released on Fario). Maybe working on that release is the reason why I have a personal
weakness for this machine. I just couldn't get over how rich the sounds were that we got to use. Sure: A completely different thing than Coil being in the museum and drawing on the discs and us 'just' working with some recordings one of the museum guys did for us. Yet still ... I was impressed then, and I'm still impressed now.
For this disc, I am keeping the review smallish. Why? Because you already know if you are a) interested in neo-classical compositions by Russian composers. If you are, you will get this release and not be disappointed. It's as simple as that. If you are b) a nerd who loves different forms of synthesis like me, this album is one to consider. Because it's very varied and shows a lot of the ANS in 'its original environment': Russian composers on a Russian synth, and if you are c) curious about composition techniques, this will break your mind. Because from the ritualistic rhythmic parts in "Sacrament" (by Buloshkin), the 'voices' in "Vivente-Non Vivente" (by Artemiev) and the birds and frogs in "Birds Singing" (by Denisov), can you tell what is the origin of the sound? Is it a bird? Is it a recording? Or is it super ANS?
For me, it's not one of those reasons to love this album, and it's d) all of the above." [BW / Vital Weekly]
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2023 |
€15.00 |
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DAIS223 (DAIS X RETROSPECT) COMPILATION |
MC + Portable Cassette Player |
Dais Records, das in LA/NYC ansässige Label, das klanglich ausdrucksstarke und visuell dynamische Künstler vertritt, ist mit dem analogen Innovator und Produktdesignstudio Retrospekt eine Kooperation eingegangen. Das Vermächtnis und die Tradition von Dais passen hervorragend zum Leitbild von Retrospekt: "Wiederbelebung von Retro-Tech für eine neue Generation". Das Ergebnis ihrer ersten Zusammenarbeit ist ein schickes, weißes, limitiertes Exemplar des tragbaren Kassettenspielers CP-81 von Retrospekt, das eine exklusive 19-Track-Kompilationskassette mit unveröffentlichtem Material aus den Reihen des Labels mit dem Titel DAIS223 enthält. Nathaniel Young, Kreativdesigner bei Dais, hat die Standardpräsentation des CP-81 sowohl für den Player als auch für die Verpackung neu gestaltet. Die weiße Dais-Edition des Kassettenspielers wird in einer weißen Schachtel mit schwarzem Text verpackt, zusammen mit einem Satz weißer Dais-Kopfhörer und dem C23-Compilation-Tape. Das Gerät verfügt über alle wichtigen Funktionen eines Kassettenspielers: Abspielen, Vorspulen, Zurückspulen, Aufnehmen und wird mit einem verstellbaren Dais-Kopfhörer geliefert. Der Dais x Retrospekt Kassettenspieler ist auf 1000 Stück limitiert - die Kassette wird nicht separat verkauft. Zu den Funktionen gehören: Wiedergabe, schneller Vorlauf, Rücklauf, Aufnahme, Mikrofonbuchse, Kopfhörerbuchse, Typ-C-USB-Stromversorgung, Batteriebetrieb möglich Enthalten sind: Tragbarer Kassettenspieler, C23-Kassettenband, 2x AA-Batterien, Verstellbare Dais-Kopfhörer, Benutzerhandbuch Der Compilation-Titel DAIS223 bezieht sich auf die Katalognummer (DAIS223). DAIS223 enthält unveröffentlichte Tracks von High Vis, High-Functioning Flesh, RIKI, Private World, Helm, Tor Lundvall, CoH, AURAGRAPH, ADULT., Drew McDowall, SRSQ, Cold Gawd, Remixe von SPICE und Cold Showers sowie Demos von Body of Light, Choir Boy, VR Sex und Xeno & Oaklander.
https://daisrecords.bandcamp.com/merch/dais-x-retrospekt-collab-limited-cp-81-cassette-player-and-compilation
We are proud to announce our collaboration with analog innovators and product design studio: Retrospekt.
The Dais x Retrospekt Portable Cassette Player is a limited edition release of Retrospekt’s CP-81: reimagined with a new graphic design in white, with rose-adorned artwork by Dais creative director Nathaniel Young. The device features all of the core cassette player functions, packaged with adjustable Dais branded headphones and an exclusive 19-track compilation cassette of unreleased material from our roster.
Limited to 1000. Tape not sold separately.
DAIS223 Tape Compilation
Listen to Sampler: found.ee/DaisXRetrospekt
SIDE A:
High Vis - Forgot To Grow
High-Functioning Flesh - Down To Sense
Riki - SAS (For Those Who Speak And Spake)
Private World - Through The Distance
Body of Light - Out of Season (Demo Instrumental)
Helm - Evil Ceramics
Choir Boy - Happy to Be Bad With You (Demo)
Tor Lundvall - Black Fly Day
CoH - Vow a Vow
SPICE - I Dont Want To Die In NY (Remix)
SIDE B:
VR SEX - Runway Runaway (Demo)
Xeno & Oaklander - Hoplite (Demo)
Tempers - Camino Del Sol (Antena Cover)
Cold Showers - Sliver (Inner City Remix)
AURAGRAPH - No Control
ADULT. - Few Warnings Are Important (2003)
Drew McDowall - Animals Will Sing
SRSQ - Phantasmata
Cold Gawd - Gin (At The Mountain)
Contents include:
- Portable cassette player
- Dais Records "C23" Compilation Tape
- 2x AA batteries
- Dais adjustable headphones
- User guide
Tape Player Features include:
- Play, fast-forward, rewind, record
- Microphone jack
- Headphones jack
- Type-C USB power supply
- Battery operable
|
2023 |
€100.00 |
|
| VAINIO, MIKA / PAN SONIC |
25082016235210179 [Live at Berlin Atonal] |
do-LP |
Berlin Atonal announce the release of Mika Vainio's live performance at the 2016 edition of the festival. Accompanied by the artwork from Vainio's personal archives, its soft lack of focus is reminiscent of the natural looseness in his sound programming, lending itself to jazz as much as any form of electronic music. Right at the tips of his fingers, sparks fly unhindered by background noise, left to saturate in his universe of swollen intent. This pared-down, sensitive, and serious music has no parallel. Deep, throbbing analog laments emanate from the outset reaching far into the furthest fissures of Kraftwerk's main hall, a chasmic exercise in arching minimalism. Between crisp, upfront sonic assault and backset rhythmic work, it morphs about the cavernous hall exploring to the core the relationship between sound and architecture. Unrelenting and icily atmospheric, the haptic saturation arouses a body of nerves. As ever the scope of Vainio's poignant work is vast, with limited tools at his disposal. Motifs are revisited and reiterated, calmly rendering confrontational and extreme mechanisms. Feedback blasts buzz over and destroy passages, punctuated by sparse rhythm. As the performance draws towards a close, percussive sounds come to the fore. Rhythmic patterns hint but never falling into predictable repetition, always manipulated, Vainio etching away with his machines. A longform performance, of ebbing passages, it grows in quasi-orchestral style as mountainous sounds vie for daylight in a thick sound horizon. Includes photography by Mika Vainio on sleeve and printed inner sleeves; Edition of 400.
|
2020 |
€25.50 |
|
| VAN DER VLEUTEN, MAARTEN |
High Intolerance toward low Energies |
LP |
"Van Der Vleuten, 1967 geboren, veröffentlicht mit der "High Intolerance Towards Low Energies" LP sein erstes Album unter seinem Geburtsnamen, den er fortan für seinen musikalischen Output verwenden will. "High Intolerance Towards Low Energies" ist eine von Tonefloat sehr ansprechend gestaltete LP, limitiert auf 500 Exemplare, und auf 180g Vinyl gepresst. Das luxuriöse Gatefold Cover mit einem eher rostig anmutenden Artwork trifft gut den submarinen Charakter des Albums: Man meint von der Wasseroberfläche des Meeres langsam abzutauchen, Druck baut sich auf, je tiefer man sinkt. Dröhnen in den Ohren und plötzlich sieht man in der Tiefe ein altes, mächtiges Schiffswrack auf dem Grund liegen. Der Rost zeigt, dass es da schon gar Jahrhunderte liegt. Neugierig und interessiert umkreist man es, aber irgendetwas scheint nicht zu stimmen. Flüstern und Murmeln, wabernde Stimmen und rhythmisches, maschinelles Stampfen. Nervöse, pulsierende Bass- Frequenzen und seltsame, gebrochene Melodiefetzen. Halluzinationen? Tiefenrausch? Man weiß es nicht. Maarten Van Der Vleuten gelingt es auf "High Intolerance Towards Low Energies" ein eigentümlich dichtes Gewirr aus Drohnen und Ambiancen zu schaffen, das in seiner Gesamtheit zu überzeugen weiß. Dass Van Der Vleuten mit dieser LP ein anderes Bild im Kopf hatte als mein submariner Eindruck, ist nicht weiter schlimm. Er legt den Fokus der Interpretation eher auf eine radikale Darstellung unserer sich immer schneller beschleunigenden Umwelt und will diesen Eindruck mit "High Intolerance Towards Low Energies" eingefangen haben. Diese Intention passt auch wunderbar zu dem unruhigen, fast bedrohlich wirkenden Charakter des Albums. Die enthaltenen 4 Stücke offenbaren eine nervöse Welt in der man entweder immer wieder ob der Bildhaftigkeit paralysiert und staunend stehen bleibt oder eben wie im Fieberwahn durch einen Irrgarten voller unruhiger, fremder Stimmen stolpert." [Creative-Eclipse]
"Amidst an infinite ocean of information, finding yourself is turning into a complex mission nowadays. On his latest full-length, ambient house pioneer Maarten van der Vleuten is returning to the memories of demolished Dutch monastery Regina Coeli, his head still spinning from the confounding excess of images and impressions. on his long and winding journey, he has come a long way from his early dance singles to being recognised as a widely respected, colourfully uncompromising personality. High intolerance towards low energies, pressed in a limited edition of 500 copies in a luxurious gatefold sleeve, has consciously been conceived as a radical representation of our rapidly accellerating environment: nervously pulsating bass frequencies and frenzied percussion are underpinning shattered sonic figments like the ground drone of a surreal urban raga, with shardes of song and prayer forming broken melodies. Finding his way through this menacing maze has certainly paid off for van der Vleuten: after releasing under 26 different pseudonyms over the last two decades, he has found his definitive musical identity on this haunting soundscape, with future works to be published exclusively under his common name. The album is pressed as a 180 grams black vinyl lp in heavy gatefold picture sleeve." [label info]
www.tonefloat.com
|
2008 |
€16.50 |
|
| VANCE ORCHESTRA |
Hot Water Music (SOLD OUT) |
7inch |
"This outfit comes from Arnhem, Netherlands, where they started to confuse the listeners with a mixture of strange loops and unexpected sounds in 1995. Their first 7" with two tracks presents electronic soundsources, effected field recordings and samples which are combined for an intelligent, atmospheric & suspenseful acoustical ride. Orange vinyl, beautiful coverartwork, each one is unique!!"
[Drone Rec. May 1998]
|
1998 |
€ |
|
| VANDEWEYER, ELS |
Debut |
LP |
recorded live 31.01.2019 at KM28 [Berlin] by Daniel Nentwig
mixed by Daniel Nentwig & Els Vandeweyer at Butterama Studio
mastered by Rashad Becker at D&M
artwork by Els Vandeweyer / layout Robert Schalinski
Els Vandeweyer is a Belgian vibraphonist, percussionist, and composer currently living in Berlin. After studying classical percussion in Antwerp and jazz vibraphone in Brussels and Oslo, Els co-founded the IMI Kollektief, whose critically acclaimed album Snug as a Gun was released on Clean Feed in 2006.
https://elsvandeweyer.bandcamp.com/album/debut
|
2019 |
€18.00 |
|
| VERGARA, JESUS A. |
R Derive Aplysia |
MC |
There is always something special about tracks that were made of field recordings. Sometimes it is just the moment you recognize the original sounds that makes you happy but sometimes the tracks engrosses you, so you find yourself in a soundworld that takes you on a journey you don´t want to miss. Well, Jesús Vergara from Mexico does exactly that.
The title track is a massive piece of music and a statement of an Mexican artist, who has to tell a story worth listening to. If you want to find out more about the background of the album, you can read further below in the artist text, but you also can search for hints in the artwork.
Tegh from Iran did a remix for the B Side of the tape, that takes the track further into songstructures without loosing the original field recordings storyline.
https://midirarecords.bandcamp.com/album/r-derive-aplysia |
2022 |
€11.00 |
|
| VETROPHONIA |
Formula of War |
CD |
"The new album from the project of Alexander Lebedev-Frontov (Linija Mass, Stalnoy Pakt) and Nick Sudnick (Zga). Old-school analogue industrial with a big influences from early XXth century’s Futuristic era, “Formula Of War” is a part of Alexander’s series named after Marinetti’s volume of poems “Guerra sola igiene del monde” (War the Only Hygiene of the World), published in the year 1915 in the outbreak of World War I. Following the previous parts of the series made by Stalnoy Pakt (a 10” and a split CD with Anthesteria) this release is also dedicated to WWI, expressing the aura of this time by means of sound and artwork. Original compositions written and performed by Futurism leaders Francesco Balilla Pratella and Filippo Tommaso Marinetti are incorporated in the album adding the spirit of time to the whole work. The release is limited to 300 copies and comes in a stylish black&brown A5 folder with 5 postcards." [label info]
|
2011 |
€13.00 |
|
| VIDNA OBMANA |
The ultimated Sign of burning Death |
LP |
"Vidna Obmana (stylized vidnaObmana on many album covers) is a pseudonym used by Belgian composer and ambient musician Dirk Serries. 'The Ultimated Sign Of Burning Death' is officially his first tape ever. Completely recorded in his small bedroom at his parent's house in 1984, the music was made on a KORG MS20, using self-fabricated tape loops of various lengths, vocals, a few effects and an old DJ mixer. All pieces were real-time recorded on a standard Marantz tapedeck, with no overdubs. Since originally only a handful of copies were self-released, Belgium's Therapie Organisatie reissued the tape in 1985 for a limited run of 50 copies. Over time the reputation of this hard-to-find tape grew slowly but consistent. Now this rarity appears on beautiful black vinyl with remastered sound. The record is pressed on 140-gram black vinyl and comes in a deluxe silkscreened cardboard sleeve with new artwork, a luxurious insert and a plastic protection sleeve." [label info]
www.urashima.it
"Yes, that is "Ultimated" you are reading; and no, we're not too sure about it either. Vidna Obmama is the long-standing project of the Belgian electronic musician Dirk Serries. His best known work dates to the '90s, in a series of oceanic ambient records that spilled through an occluded / fictionalized ethnomusicology similar to what :zoviet*france: and O Yuki Conjugate were up to at that point in time. But the earliest cassettes by Vidna Obmana (which translates from Serbian as 'optical illusion') lives up that name as a completely different beast than those tranquilizing soundpaintings or even his smolderingly long-form guitar drone expeditions as Fear Falls Burning. The Ultimated Sign Of Burning Death was the very first release for Vidna Obmana, and has the distinction of being an aggressive industrial noise proposition, pretty much the exact opposite of what he's best known for. That said, Serries did release a compendium of his mechanically inclined industrial tapes on Vinyl On Demand several years back, showcasing his earlier more aggressive inception. But even in comparison to that box, Ultimated Sign Of Burning Death is a dense, almost power-electronic squall of unkempt distortion and hurricane-shock vocal bellows. Controlled Bleeding and early Ramleh would be very worthy reference points. Super limited pressing of just 99 copies on the ever-collectable Italian noise-imprint Urashima. Restocks are unlikely." [Aquarius Records]
|
2014 |
€27.50 |
|
| VIGROUX, FRANCK |
Ballades sur Lac Gelee |
LP |
Black vinyl LP pressing in gatefold jacket, printed inner sleeve, artwork by Olaf Bender.
We met Franck Vigroux for the first time years ago at Berlin's Berghain during a soundcheck. At that time he performed with Mika Vainio, with whom Vigroux often worked together.
The first track on »Ballades sur lac gelé« dates back to that time. It was created under the impression of this collaboration and friendship with Mika Vainio. This album is dedicated to him.
Vainio's oeuvre is also significant in connection with the history of raster, so it was only logical and our wish to release this album by Franck Vigroux.
With the beginning of the corona pandemic, Franck Vigroux took up this early material again, he continued to formulate it and completed the present album »Ballades sur lac gelé«. The title already defines the theme of the ballad, a "song/poem with very minimal structures" (quote Vigroux).
"Ballade" is also a play on words with the French word "balade", in this sense a ramble, a ramble over a frozen lake. The reduced, cool structures reflect this. But at the same time, under the surface, the (often distorted) sound carpets steadily increase to immense power. Like ice that grows and tectonic forces that have to erupt, glacier-like.
Vigroux is very skilled at creating music in this minimalist setting. The intertwining of very few musical elements creates a kind of soundtrack that is multi-layered and at the same time universally intelligible.
»Ballades sur lac gelé« will be released on June 26th, 2020 as a digital pre-release exclusively on our sites. The physical formats, i.e. CD and vinyl, can be pre-ordered. The official worldwide release date will be announced at a later point in time.
https://raster-raster.bandcamp.com/album/ballades-sur-lac-gel
|
2020 |
€21.50 |
|
| |
Atotal |
CD |
New full length album of Franck Vigroux's uncompromising signature sound of colossal electronic music. Atotal gathers material from Franck's latest live A/V of the the same name. Working with his long time visual partner Antoine Schmitt, ATOTAL is an audiovisual performance aiming to reconstruct in order to better deconstruct the processes of imposition of will by repetition and absolute synchronism, to propose a breach to a potentially life-saving decoincidence. The total work of art, when pushed to its paroxysm of absolute coincidence of the perceptions of a captive spectator, is similar to the techniques of mental manipulation of totalitarian regimes, proceeding by annihilation of the critical mind, repetitive semantic pounding, subliminal messages.
The ideal of a deterministic universe of Newton in which everything rationally stems from its causes, in which everything is predictable like a totality for Laplace’s daemon, where everything can be considered already written, has been undermined in the infinitely small of the uncertainties of Heisenberg which tell us that it is impossible to know everything about a particle, in the quantum mechanics of Schrödinger which reveals to us that the looker affects the looked-at, and in the infinitely abstract of Gödel’s incompleteness which explains to us that certain things are literally unexplainable. The show ATOTAL slips into these flaws and, like a clinamen of Lucretia, deviates the visual and audio atoms from their destiny.
Mastering by Denis Blackham. Artwork by Mostafa Khaled. With the support of Adami 365
Vinyl Edition of 300 copies in matt laminated Sleeve.
11 Tracks. Running Time 55:10. UPC: 0694536563278
CD Edition of 300 copies in matt laminated 4 panel Digipak.
11 Tracks. Running Time 55:10. UPC: 0694536563285
https://aesthetical.bandcamp.com/album/atotal |
2021 |
€13.00 |
|
| 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 |
|
| |
Primaera |
mCD-R |
"founded in the late 80's on the ashes of esoterica landscapes 7, voice of eye is the duo of bonnie mcnairn and jim wilson. they released several discs during the first part of the 90's on their own cyclotron industries, a 7" on drone records, a live lp on anomalous records as well as collaborations with another ethno/experimental/ambient band life garden, all of them documenting their fascinating and captivating atmospheres mostly made from self-built instruments, creating a unique sound.
after a 12-years hiatus, voice of eye was back in 2007 for a us & europe tour together with ure thrall, unleashing two new self-produced discs (recently re-released by old europa cafe) proving the magic wasn't gone. this 18min track, especially recorded for taâlem in 2008 confirms bonnie & jim haven't lost the touch!" [label info]
www.taalem.com
"Primaera; the first creation. Follow the journey of sound from its inception in silence as it enters the fertile soil of your mind and evolves through the yearning to know its purpose and fulfill its destiny only to expire back into silence. Recorded in the coastal redwood forests of northern California, Primaera is one 18 minute track released on CDr by French label Taalem. Full color disc artwork by delphine ancelle-b. January 2010." [Voice of Eye]
"Voice Of Eye is also a duo, but then from Houston and after a hiatus of several years, they seem to be fully back on track. This one is from last year and shows Voice Of Eye in a somewhat improvised mood, I think. All the machines they have at their disposal are set to play something, guitars are plugged in, microphones are open and here we go. A bit more experimental than y'r average drone release I'd say, but in its rawness I'd say this is a great piece. The edges are rough, like that howl of feedback towards the end of 'Primaera'. Great psychedelic mood music." [FdW, Vital Weekly]
|
2010 |
€5.00 |
|
| VOICES OF THE COSMOS |
Interstellar Space |
LP |
VOICES OF THE COSMOS - Interstellar Space
Eter Records & Gusstaff Records, 2021
Aurora Bis & Six Pulsars composed, recorded and mixed by Rafał Iwański. Additional sounds by Wojciech Zięba.
Maser Emission & Methanol Flash composed, recorded and mixed by Rafał Iwański & Wojciech Zięba.
Toruń and Grudziądz, March – October 2020.
Mastering: Marcin Bociński | legatomastering.pl
Artwork and layout: Wojciech Zięba
Logotype design: Chris Konky
Astronomical consultation: Sebastian Soberski | planetarium.grudziadz.pl
Coordination of the "VOTC IV" project: Rafał Iwański
Special thanks to: Paweł Wolak (Institute of Astronomy - Nicolaus Copernicus University, Toruń, Poland) for radio telescope maser sonifications G75.761+0.340, G107.298+5.639; Stephen P. McGreevy (The University of Iowa, U.S.) for aurora sounds; Jodrell Bank Centre for Astrophysics (Manchester, U.K.) for 47 Tucanae pulsars sounds.
The project is co-financed by the Scholarship of the Marshal of Kujawsko-Pomorskie Voivodeship.
VOICES OF THE COSMOS project combines efficiently the achievements of astronomy with electroacoustic music. The creators use the original extraterrestrial signals and sounds received by radio telescopes (e.g. pulsars, magnetospheres of planets, Sun, aurora borealis, masers) and other radio devices, sometimes they use sonifications and archive recordings from space missions. Instrumental tracks integrated into the processed rhythms and tones of the “space sounds” are created with electronic instruments, both digital and analogue, as well as various acoustic objects.
The project has been presented many times in scientific institutions and at music festivals, in the form of audio-visual concerts, also in the version extended with astronomy lectures and sky observations. It is a unique initiative in Poland, which uses the original space recordings, including from a 32-metre fully steerable single-dish radio telescope located at the Institute of Astronomy of the Nicolaus Copernicus University in Toruń.
Electronic music and radio astronomy are inventions from the first half of the 20th century. From the very beginning, both areas were permanently associated with technical progress and new technologies that determined their development. Artistic productions such as “VOTC” kind would not have been be possible without the achievements of modern astronomy. Outer space with the necessary technological support to convert radio waves into acoustic waves is full of the source of sound phenomena: noises, vibrations, pulsations, shreds of melody, grunts, as well as chaotic and mysterious sounds, often difficult to determine.
https://voicesofthecosmos.bandcamp.com/album
/interstellar-space
|
2021 |
€20.00 |
|
| VOLCANO THE BEAR |
Amidst the Noise and Twigs |
CD |
"Die vier buchdeckelartigen Hochglanzseiten mit surrealen Bilderwelten des Nick Mott – Würfelkopfgestalt, gesichtslose Männchen fliegen durch die Luft, eines legt seine Stielaugen vor sich auf den Tisch – würden den Kauf von VOLCANO THE BEARs Admidst The Noise and Twigs (mt204a) fast schon alleine rechtfertigen. Umso besser, wenn dann die Musik auch noch überzeugt. Neben dem Artworker zeichnen für diese wieder Aaron Moore, Clarence Manuelo und Daniel Padden verantwortlich. Sie jagen den Hörer durch eine scheinbar zufällig chaotische Dadaund Patchwork-Welt, die bisweilen Dilettantismus höchst gekonnt suggeriert und mit allen musikalischen und technischen Tricks Illusionen aufbaut und zerstört. Hippiegeschrammel trifft auf orientalische Flöten und Gongs der Chinaoper. Dann paaren sich Flötengedudel, Geklapper und Geknarze ’Before We Came To This Religion’. Auf ’Larslovesnicks Farm’ steht ein altes verstimmtes Klavier, auf dem ein Langweiler vier Töne tonleiteraufwärts stetig wiederholt, dazu scheinen Türen zu knarzen und Wasser wird verspritzt. Ein Banjo beschränkt sich auf 2 Töne, die während des Anschlagens getunet
werden. ’Cassettes Of Berlin’ ist eine negativländlerische Collage aus Geräuschen, Stimmfetzen und Radioeinspielungen, abgehackt, weil am Frequenzeinstellrad weitergedreht wird. ’Splendid Goose’ ähnelt den langen Mothers-Stücken der zweiten Freak Out-Scheibe. Das Schlagzeug unterbreitet den treibenden Rhythmus, über dem sich monotone Frequenzteppiche ausbreiten, gestört und unterbrochen von Kracheinspielungen und begleitet von brummiger Stimmakrobatik oder Flötengequengel. ’She Vang Moon’ kreiert eine Atmosphäre tibetanischer Klöster mit Mönchsgesang, Harmonium, Gonggeschepper, verzerrt dann immer mehr durch unsaubere Frequenzen. Es geht auch gefühlvoll, wenn die Trompete zu einer Art Hymne ansetzt, aber dann wird gegrunzt, gejammert und durch den Kamm geblasen. Das letzte Stück, ’The Three Twins’, beginnt in getragenem Tempo mit 3 Tönen und der tiefgreifenden Aussage “Hi-a-o, Hijä-jah...“ (oder so ähnlich), geht über in dilettantisches Geklopfe, Kindergeschrei, Klaviergeklimper - das Schlagzeug wuselt im Hintergrund – und entwickelt sich tatsächlich noch zu einem Song, der am Ende vom Sax regelrecht ’zerquetscht’ wird." [Bad Alchemy]
"The first 1000 copies are packaged in a full color book bound case with an eight page booklet. Volcano The Bear "Amidst The Noise And Twigs" is the follow up to the critically acclaimed "Classic Erasmus Fusion" album. Who knew that amidst the noise and the twigs there was music…sweet, sweet music?! This world is Volcano the Bear’s womb. At last, the year that VTB gets a shot at Top Of The Pops, assuming the pops finally snaps out of its vapid trance and embraces the standards of Comus, 3 Hurel, early Residents and 12th century Arabo-Andalusian music. As usual, our heroes are found keeping things stripped to the bone trumpet, but dripping with a juicy, melodic marrow. The record pours slowly and resolutely like a folk-psych dream urn, loaded with full metal banjoes; crumhorns at 12 O’clock; and autoharps at defcon 5. The experimentalism is this time couched in shifting tides of self-spun acidic harvest ballads that noisily well up into proto-Kraut thrums and tribal night t rips around the pyre. A rural, squelchy, DIY delicacy which stinks of occidental embouchure so crystal crisp that every skkrrrr, pphaaapph and brrruuuummmm resonates like a small, sound-specific god, intertwined with beautifully skewed notes, voices and rhythms. "Amidst The Noise And Twigs" plays like a recently discovered field recording of some obscured Celtic clan who accidentally stumbled onto psychedelia 600 years ahead of its time. These pipers truly rock the gates of dawn." [label notes]
www.blrrecords.com
|
2007 |
€13.00 |
|
| |
Commencing |
5 x LP BOX |
"Leicester, England – mid 1990's. Aaron Moore, Nick Mott, Clarence Manuelo & Daniel Padden create a free form group named Volcano The Bear out of their frustration with standard musical limitations. Now, after 20 years of experimenting with improvisation, folk, Dada, Post Punk, Krautrock, noise, surreal comedy, pure avant-garde and more, the group has obtained a cult following and high critical praise across the globe. Reknowned for their highly theatrical and obscure live performances, as well as their mind-blowing catalogue of releases, VTB truly is a one of a kind group, consistently pushing forward with their own unique, experimental approach to sound making.
Commencing manages to be both a retrospective of the group's 20 year history as well as it ´s own unique release filled with vast amounts of material. The 5 albums, 64 tracks & over 4 hours in length, presented here has been carefully put together over the last couple of years to become an entity – working as much by itself as well as a whole. Expect an abundance of unreleased material, alt-versions, tracks from early cassette albums never released on vinyl, live recordings, pieces from forgotten compilation appearances and more, all mixed and compiled together to form 5 stand-alone albums.
The physical release also includes a book of writings, photos and flyers from their long history, along with a bonus download only album of tracks that didn't make the final cut. This is the ultimate VTB release for fans of the group and of surreal, experimental musical history in general.
Deluxe Silkscreened Box-set, incl. 5LPs with individual covers & linernotes for each track on the back, 50 page book of photos, artwork, flyers and stories of the band´s 20 years of existence. Also includes a free download of all 64 tracks + 10 track bonus album. |
2015 |
€90.00 |
|
| VOMIR |
Musique de l'Indifference |
LP + CD |
"One continuous track of battering, unmoving and crude walled noise, spread across side one of the LP at 33rpm, then the CD, then the second side of the LP at 45rpm. Simultaneous play is also encouraged. Artwork by STROM_VARX. Edition of 350." [label info]
|
2012 |
€18.00 |
|
| VROMB |
Jeux de Terre |
CD |
Das erste VROMB – Album erschien 1993 auf Tesco und wird inzwischen zurecht als Klassiker betrachtet – irgendwo in der Grauzone zwischen dunklem ambient Industrial und rhythmisch-futuristischer Elektronik siedelte VROMB seinen ureigenen Stil an..
"until 1993, hugo girard's only appearance on record had been on a canadian compilation cd (adolphe présente), but these new ambient industrial sounds caused enthusiastic reactions in europe and canada. the first full length release was a canadian / german label collaboration: 'jeux de terre' . this cd was beautifully packaged in a 7"x10" cover and the disc was in a hand numbered paper sleeve. also included was a postcard and several large prints of nicely drawn insects - the text was in both french and english. the original 'jeux de terre' has been deleted for years. now there is the opportunity for vromb addicts to get it again. this re-release is in celebration of the ten year anniversary of vromb. the concept behind 'jeux de terre' (earth plays) was of a journey through an imaginary world of
insects. insects that had not been identified yet - as you can now read in english for the first time. 'insects, go for food or discovery, warzone, life purpose at the insect dimension' as girard explains it. the sound on this disc is less beat oriented than later vromb releases, but nevertheless it is partly rhythmic. drones and basses create a hypnotic and sometimes threatening atmosphere. you might seem to hear natural, even sampled, insect sounds but there were no samplers used. just 'strictly analog and digital synthesis'. you can hear what makes vromb's music unique even on his debut.
a soundtrack to a film yet completed. the ant-zen re-release contains one unreleased extra track which was intended for the original version and an 8 page booklet which includes a modified version of the original artwork."
[label info]
|
2003 |
€13.50 |
|
| WAKHEVITCH, IGOR |
Les Fous d'Or |
LP |
"Released by Pathe Marconi in 1975 and housed in a fantastic surrealist cover designed by his father, Russian painter/art director Georges Wakhevitch, this album marks the debut of Wakhevitch's long-standing collaboration with american dancer/choreographer Carolyn Carlson. It also shows the composer's progression into a more esoteric and lyrical grounds: a departure from the violence of his first three albums into quieter yet equally dark and mysterious regions. Divided in two sides (called "CORNERSTONE"/"LES FOUS D'OR") the whole record oozes a dreamy, mysterious, surrealist atmosphere enhaced by the spoken word introductions that open a series of mesmerising electronic pieces which range from the gentle to the hypnotic. Animal sounds, ritual horns, wordless vocals and assorted metal banging and scrapping add to the whole mix for a landmark sound that will evolve in future albums. Six different pieces that take off where Hathors' 'Aurore' left before moving into a crazy and disjointed landscape that echoes the crazyness of Docteur Faust yet in a subtle, stranger, more warped way. Strictly limited to 500 copies on transparent clear vinyl. Single cover reproducing the original 1975 artwork. Includes insert with liner notes reproduction of the original Les Fous d'Or insert." [label info]
www.wah-wahsupersonic.com
|
2013 |
€23.00 |
|
|
Nagual |
LP |
"Originally released in 1977, this was (once again) a product of the fruitful association between Wakhevitch and american dancer/choreographer Carolyn Carlson. Compiling some of the pieces specially written for Carlson's "This, that and the other" (created for the Groupe de recherche Théâtrale de l'Opéra de Paris), the album follows the otherwordly steps of it's predecessor ("Les Fous D'or") in a more calm, relaxed, almost nocturnal way. Inspired by Carlos Castaneda's writings, Nagual is another mysterious and intriguing statement of musical esoterica: a collection of twelve musical vignettes covering a whole range of styles, from majestic electronic pieces to echo-drenched concrete-like sketches via impressionistic piano compositions. A bewitching musical journey, built around Wakhevitch's keys where electronics give way to more acoustic sonorities (piano, harp) for a highly-charged magical sound. A very special record!!! Strictly limited to 500 copies. Single cover reproducing the original 1977 artwork. Includes insert with liner notes reproduction of the original Nagual insert." [label info]
www.wah-wahsupersonic.com
|
2013 |
€23.00 |
|
| |
Let's Start |
LP |
"Originally released in 1979, Wakhevitch's last album before definitely settling down in Auroville (India) was his most meditative and relaxed effort to date. Fruit of his 1978 stay in Israel invited by the "Mishkenot Shaananim" Foundation, the album was again completely dominated by the composer's keyboards - hypnotic, majestic, enchanting and delicate: from the sweeping synths and fractured vocal loops of the title track to the fragility of Taddy's Fruit Garden, the lyrical spaciness of Eriador or the otherwordly impressionism of Taddy's Dream: Ramallah's Road. A masterful closing statement by this french master and a must for anyone into meditative keyboard music in the vein of Terry Riley, Deuter, JD Emmanuel or Peter Michael Hamel, to name a few. Strictly limited to 500 copies. Single cover reproducing the original 1979 artwork - includes insert with liner notes." [label info]
www.wah-wahsupersonic.com
|
2013 |
€23.00 |
|
| WARDROBE MEMORIES |
The Mean |
MC |
"Wardrobe Memories has been around since 1999 - serving Drones and melodic dark ambient on CD-R, vinyl and Cassette. After releases on Dhyana Records, EE Tapes and several other hard-to-purchase longplayers, sparsely spread in very limited runs, a new LP on shhhh records appeared in 2011 with foggy soundtracks and subtle beats. Now after 2 years (and almost one year in the making) the new album by Wardrobe Memories appears with a green C-50 audio cassette on Voluntary Whores, strictly limited to 48 copies, serving 14 soundtrack-songs for a never released steampunk-darkfuture-movie. Release comes with a futuristic object and oversized printed artwork." [label info]
www.voluntarywhores.de
|
2013 |
€8.00 |
|
| |
Early Years |
2 x MC |
"The first self-titled wardrobe memories album (also sometimes called '1999' in some circles) was released on CD-R with a do-it-yourself plush artwork - the first catalog number on the small underground label „schneetreiben“. with just a limitation of 20 copies this handmade item was quickly sold out. in the same year wardrobe memories released its second album „grand canyon tracks“ - again on label schneetreiben with the same strict limitation. this double cassette re-release documents the first wardrobe memories years. Comes with button-object, postcard and yellow shell coloration. Limited to 50 copies." [label info]
www.voluntarywhores.de
|
2014 |
€12.00 |
|
| WATERMANN, JOHN |
Calcutta Gas Chamber |
pic-LP |
Wiederveröffentlichung dieses Klassikers, jetzt als picture Vinyl!
"....ein dunkles, dichtes Werk mit elektro-akustischen Qualitäten, viele konkrete Geräusche & Sounds & Cut-ups, meist undefinierbar, aber voll von unheimlich beseeltem maschinellen Leben... absolut packend!" [Drone Records]
"Re-release of the long out-of-print album by the late John Watermann. The idea for this project came about after a visit to Calcutta in 1990, and through the nightmarish experiences during that short visit. The concept of aurally conveying the horror of a gas chamber was realised through field recordings in an abandoned electrical power station in Brisbane in 1992. The sounds are grating and harsh, a mixture of field recordings and electronic manipulations. One can rarely pinpoint a location or action but the images the sounds conjure up are of all sorts of nefarious activites related to death by machinery. The sleeve notes take you into the horror that is the Calcutta Gas Chamber. John Watermann started the re-design for this re-issue (originally released in 1993 on US label ND), but tragically passed away in 2002 before its realisation. A beautifully composed and produced album, completely remastered and feat. new artwork. This special picture LP is limited to 444 numbered copies. A CD version of 'Calcutta Gas Chamber' was released by Cold Spring in late 2006." [label info]
|
2007 |
€18.00 |
|
| |
1935-2002 |
CD |
Unglaubliche Sounds auf dieser "rare tracks" - Zusammenstellung,man wird regelrecht hin- und her geworfen in Strudeln aus Dynamik & Klang; 13 Stücke von z.T. längst vergessen Compilations wurden hier zusammengestellt, die Cover-Artwork ist wie immer bei WAYSTYX speziell.
www.waystyx.com
|
2008 |
€13.00 |
|
| WENZEL, BETTINA |
Mumbai Diary |
CD |
VOICE as Instrument of Affection
Sound diaries have their seductive appeal. Unlike written memoirs, sketches, cartoons and photo journals they share a common feature with film documentaries – the temporal sound-image. Deprived of visual information (and of predominance of sight), sound-image attracts listeners’ ears, penetrates their bodies, permeates through their minds, initiating the process of imagination and articulating lived as well as imagined experiences. No escape; intrusive meanings are always present. In contrast to moving images that reduce space and vision to the surface and depth of a screen, sound-images are capable of not only extending the listeners’ universe but also making them aware of and signifying the impulses within their bodies. If combined with appropriate musical expression, as in the case of Bettina Wenzel’s Mumbai Diary, the ambition to represent the unique artistic intention in correlation with genius loci and intimacy of a place where one finds oneself in a particular moment succeeds in producing interaction.
Wenzel’s abstract voice finds proper structural support in the concrete soundscapes (of urban origin) she created from the field recordings during her artist residency in Mumbai; it bodily spaces the intervals and foldings that house voice as their natural constituent. Although we do not see her, we feel that she is singing with her entire body; it is the body which paints the vocal lines and pointillistic textures onto the surface of a sound time-crystal. The resulting form was neither composed nor improvised; it was created by affection. As we know (from Bergson and Deleuze), the affection is coupled with the body that offers the internal space for the act of affection.
Mumbai Diary is therefore not an itinerary, it does not provide listeners with any space-time coordinates or information from the life of its author. Rather it is a sound album, a collection of sound-images, thoroughly arranged by the memory as well as by the taste and style preferences of its compiler, composer and adapter in one person. She compiles out of the obsessive need to give a new meaning to the recorded fragments of her memory. She composes because she desires to manifest her relationships with the world and other people through a new meaning that is no longer dependent on the old codes and conventions of art communication and music making. And finally, she adapts the compiled and composed result to her instrument of affection – VOICE. It is the VOICE that brings into the memories of Mumbai, now embodied in the sound-images, the affection from outside – from the body of their originator. And the same VOICE generates later the affective response in the listeners, whose memories are not bound to the above mentioned genius loci. The VOICE becomes the guide through the unknown soundscape, thanks to the VOICE the soundscape becomes familiar to the listeners.
So, what can listeners hear (and feel) during the affective sound walk Bettina Wenzel invites them to? Unconventional, extended vocal performance used as a means to define herself against a foreign culture. Pleasure of the immediate need to vocalize. Barthesian grain of the voice in full effect. Expressive voice escapades against sound patterns alienated from their original environment. Improvised vocal comment to an appropriated religious song disturbed by traffic noise. Suggestive percussive textures woven from metallic sounds and breathing noises. Unidentifiable sound objects versus clear vocal intention. Unexpected juxtapositions of ambitious onomatopoeias and indeterminist formalisms. Potential stimuli to fictive narratives…
As the chronology and causal-consequent relations are no the focus of in this sound album, you can listen to its impressive sound-images-affections in random order. M.D. could stand for Mumbai Diary as well as for membra disjecta in this case.
Jozef Cseres, aesthetician of arts
September 2010
www.wenzelvoice.de
www.wenzelvoice.de/mumbai
www.facebook.com/profile.php?id=553258571
mail: bettina@wenzelvoice.de
All COMPOSITIONS BY BETTINA WENZEL
FIELD RECORDINGS/ VOICE/ AKAPPAIKINNARI BY BETTINA WENZEL,
APRIL–SEPTEMBER 2009, MUMBAI
MIXED BY BETTINA WENZEL, MAI 2010, COLOGNE
MASTERED BY JOKER NIES, JULY 2010, COLOGNE
PRODUCED BY BETTINA WENZEL
PHOTOS/ DRAWINGS BY BETTINA WENZEL
Artwork BY CHRISTA MAREK
TEXT BY JOZEF CSERES
© Bettina Wenzel 2010
www.gruenrekorder.de/?page_id=3722 |
2010 |
€13.00 |
|
| WHEN |
Black, White and Grey |
CD |
Imposantes apokalyptisches Werk des norwegischen Projekts, wo es um die „Zerstörung der Erde“ geht. Eine schwer zu beschreibene Mixtur aus Filmsoundtrack, Hörspiel & Musique Concrete mit orchestralen und elektronisch-industriellen Einflüssen. Hinter WHEN steckt LARS PEDERSEN (u.a. HOLY TOY), unterstützt wird er hier mit Texten von CHRIS CUTLER. Als Bonus gibt es auf dieser CD die zweite LP von WHEN, „DEATH IN A BLUE LAKE” (WIT002, 1989), basierend auf dem gleichnamigen Roman von A.BJERKE.... dramatische Düsterkeit abseits gängiger Klischees, Bad Alchemy schrieb „Fröschequaken – Vogelgezwitscher aus dem sumpfigschlüpfrigen Uferdickicht des Blue Lake – Hundegebell – Äste knacken – Schwermut – Geheule – ‚hypnotized’ – die Geräusche schwellen an – den Kopf / die Nerven verlieren – alles dreht sich – die Ohren zuhalten – kein Ausweg....“ [MBeck in Bad Alchemy # 13, 1989]
“A complete new work plus 'Death In The Blue Lake'. Combines playing and through-composition with manipulated and environmental sound in dramatic, narrative, psychological constructions. Quite unique. 'Death' based on a novel; texts in new works by Chris Cutler. Book of artwork.“ [ReR]
|
1990 |
€14.00 |
|
| WHETHAM, SIMON |
InTolerance |
CD |
«Tolerance can be used to describe how things fit together. Another term is allowance. Situations do not always run smoothly alongside others. People are not always able to accept new situations presented to them.
With this work, I have stated “Many borders crossed, communities welcomed by, moments shared, ideas exchanged. Everyone on the planet should have this basic human right.” I truly believe this and have grown in every way through my own experiences, here combined in a way to reflect both tolerance and intolerance».
Simon Whetham
Comes in a 200 copies edition CD, packaged in an oversize 7’’ sleeve featuring cover artwork by Robert Sherrill and layout curated by Matteo Castro.
https://kohlhaas.bandcamp.com/album/intolerance
|
2017 |
€13.00 |
|
| |
(II)nTolerance |
CD |
«"InTolerance" (published by Kohlhaas in 2017) consisted of a selection of combined scenes and activities in various global locations. Through the process of constructing the piece, it became clear that it was as much about my ability and fortune to be able to travel and cross borders with relative ease as it was about the situations I was able to document "(II)nTolerance" is a sequel and a response to "InTolerance". It is a personal reaction to the global pandemic and its wide-reaching effects through suffering, fear, misinformation as much as confinement and curfews. It is a personal response to the (somewhat incorrectly named) United Kingdom leaving the European Union and all the resulting events that are continually unravelling.
Travel has been limited when not impossible. Cultural exchange is only possible through mobile, online, remote communication. Tactile contact is feared. Families and friends have been divided physically, mentally, politically.
Fragmented memories emerged as sounds from recent years are repeatedly listened to. Unions, reunions, first meetings and last farewells. Staged and chance activities. Meticulous constructions. Static scenes. Abandoned sites. Interrupted signals. Severed connections. Energy transmitted, translated, received.
Locations were revisited retrospectively, introspectively, their whereabouts unimportant. Thanks will be sent privately to those who enabled this work in every way.»
Simon Whetham, 2021
Mixed by Simon Whetham.
Mastered by Phil Julian.
Cover artwork: "Wanderings" by Robert Sherrill, 2018.
Graphic design by Nicola Chemotti Beutel.
Edition of 200 copies.
CD w/ oversized 7" sleeve featuring cover artwork by Robert Sherrill and graphic design by Nicola Chemotti Beutel, printed by Legno.
Edition of 200.
https://kohlhaas.bandcamp.com/album/ii-ntolerance
|
2022 |
€13.00 |
|
| WIEMAN |
Alive Futarist Minifesta |
CD |
"In 1914 Luigi Russolo wrote his famous 'Art Of Noise' manifest. The 100th anniversary of 'Futurism' was celebrated all over the world but also in Tilburg, The Netherlands. Wieman was invited to perform their meltpot of futurist noise and since Tilburg is the hometown of their close friend Jos Smolders, and since he has switched to modular synthesis (and his synthesizer looks like a space ship control unit anyway), it was decided we would join forces for this project. In the usual fashion of home preparation and then spending a day to sort out the sequence of the tracks, Wieman and Smolders set to work, plundering freely from recordings of Russolo's original 'Intonarumori' instruments, via the sixties soundtracks of sci-fi movies (Star Trek, 2001 A Space Odyssey), Vivenza's machine recordings, industrial music and afro futurism, Wieman applied their usual meltpop techniques, while Smolders added his modular synth madness. It's bursting with mechanical rhythms, spacey choirs, and machine noise as well as sampled spoken word. In accordance with true meltpop the guessing game (hmmm, where have I hear this before?) is yours.
Wieman is the project of Roel Meelkop & Frans de Waard; the logical runner-up to Goem, first called Zèbra, but in 2012 they changed their name to Wieman. They call their music meltpop and take conceptual approaches to create new music. They created new pieces out of the catalogue of Factory Records, worked with music that had the word 'music' in it, remixed music from the cassette label Limbabwe Tapes, provided music for a performance leading up to screening of 'El Topo' by Alejandro Jodorowsky (together with Ben Schot), worked with Wally van Middendorp (of Minny Pops), reworked Cybe (80s synth musician) for an LP, dissected classical notions in pop music and even mined their own Goem catalogue as the source of music for a new piece of music. They only work on commissioned music.
Jos Smolders is a composer and mastering engineer, who recorded for Korm Plastics, Quiet Artworks and Staalplaat, is a member of THU20 and WaSm (together with Frans de Waard) and whose motto is that "Getting into the headspace and understanding the perspective of the artist is essential". His mastering clients include Merzbow, Pierre Henry and Scanner among many others." [label info]
|
2016 |
€10.00 |
|
| WINDEREN, JANA |
Spring Bloom in the Marginal Ice Zone |
CD |
The listener experiences the bloom of plankton, the shifting and crackling sea ice in the Barents Sea around Spitsbergen (towards the North Pole) and the underwataer sounds made by bearded seals, migrating species such as humpbacks and orcas, and the sound of hunting seithe and spawning cod. All depend on the spring bloom.
In view of the recent UN Climate Change report, this release is most timely...
The marginal ice zone is the dynamic border between the open sea and the sea ice, which is ecologically extremely vulnerable. The phytoplankton present in the sea produces half of the oxygen of the planet. During spring, this zone is the most important CO2 sink in our biosphere. In 'Spring Bloom in the Marginal Ice Zone' the sounds of living creatures become a voice in the current political debate concerning the official definition of the location of the ice edge.
'Spring Bloom in the Marginal Ice Zone' is Winderen’s latest instalment in a series of works that reveal the sounds of underwater life, from the warm waters in the Caribbean to the cold and nourishing waters around Greenland, Norway and Iceland. 'Spring Bloom in the Marginal Ice Zone' was a Sonic Acts and Dark Ecology commission supported by Art & Technology — Arts Council Norway, Fond for lyd og bilde, Tono stipendet, ARCEx R/V Helmer Hanssen, University in Tromsø & Foundation Mamont.
Artwork & photography by Jon Wozencroft
Booklet photography by Philipp Assmy
Mastered by Denis Blackham, Skye
Published by Touch Music/Fairwood Music UK Ltd
Thanks to Paul Wassmann, Carlos Duarte, Britt Kramvig, Berit Kristoffersen, Hilde Methi, Northsailing, Tromsø Friluft Centre, TBA21 Academy. |
2018 |
€16.00 |
|
| WOLLSCHEID, ACHIM |
60xX |
CD |
Soundmäßig wohl das zugänglichste Material, das der Frankfurter Konzeptkünstler bisher produziert hat. Digital verwobene found sound-Wellen, v.a. Streicher, vermischen sich mit Störgeräuschen in endlosen, ratternden Kaskaden.. immer in Bewegung und Veränderung. Sehr vital und geräuschhaft schön ! Als Soundquelle dienten seine eigenen Radiosendungen..
„ While the common modes of broadcasting, distributing and listening to sound seem to be changing rapidly it may make sense to tune into that process and give way to a flexible organisation of sonic structures - 60 x X bases on my monthly broadcast on Radio X, Frankfurt a.M. (www.radioX.de) I use all available players at the radiostation to play different records, CDs and cassettes from my archive at the same time. The resulting layered stream of sound is re-structured and re-composed by a real-time computer-program. Composition thus becomes a method to select, transform and develop sonic presence on the brink or randomness. This ritornell CD is a re-structured version of recordings from such
broadcasts. The first 60 min of 60 x X was broadcast on resonance fm, London in 2002. (www.resonancefm.com). This ritornell CD (post-produced at FTF Studio, Frankfurt a.M.) is the
second edited version - evenly underlaid by a grid of indexes that separates the sonic stream into 60 pieces. - (both shuffle mode and sequential play are recommended). Artwork by Charly Steiger.” [press release]
|
2003 |
€13.50 |
|
| |
Moves |
CD |
“A CD of lovely, resonating installation sound from Selektion founder Wollscheid. "Once I had the idea to play a house. This happened when the city of Frankfurt, in charge of an investment company and intending to raise the acceptance of a deserted industrial complex, planned to perform a vernissage (make over) in this place. Therefore they needed an artist and an artwork. When I was asked, I thought that it would be apt to the situation to leave the huge space empty of artworks and instead attach a compute-generated clapper to each of the 1400 windows to transform the space into a poly-rhythm box. I liked the plan, but the investors didn't. Nevertheless, I pursued the idea to activate the resonance frequencies of given objects in a space in order to arrive at site- and space-specific compositions which would change with every place and given situation.” Wollscheid."[label info]
|
1996 |
€13.00 |
|
| WRIGHT, PETER |
Snow Blind |
do-CD |
"Peter Wright is a true veteran of the experimental scene, hailing from New Zealand with a catalogue that goes back over a full decade. We're very proud to present you with his newest offering, a mammoth double-album called Snow Blind. Anyone familiar with Peter's music will be happy to hear lots of the layered guitar drones and textural interplay that his records have been known for, however we feel this is a totally accessible record to anyone who enjoys dense drones or ambient music. Wright coaxes otherworldly harmonies out of thick slabs of rocky chords that tower nearly endlessly like cliffs overlooking a black ocean, with some pieces keeping a calm, stately mood and others bursting with hot yellow energies. Altogether this is one of the finest collections of guitar music we've heard in a very long time, and should not be missed. Presented on a limited run of 300 copies with sprawling and unique artwork by Peter himself." [label info]
www.installsound.net
|
2009 |
€16.00 |
|
| WÄLDCHENGARTEN |
Reservated |
CD-R / object |
"Wäldchengarten ist der Soundtrack zu Teilen des Buches "Reservatet" von Christian Haun. Wäldchengarten kommen aus Dänemark. Die Musik dazu ist ein einziges, 30 minütiges Drone-Stück. Es ist ausufernd, weit, laut und eher schwer wie schimmernd und licht. Es hat etwas von Post-Rock und wirkt erdig und dann und wann psychedelisch. Das Artwork suggeriert eher, dass es sich bei der CD um den Soundtrack zu einem Film handelt, auf der Innenseite des Booklets sind Auszüge aus dem Buch von Christian Haun abgedruckt." [Creative-Eclipse]
" `Reservated´ is the result of a sounds-and-words event held by Lyd og Litteratur in Aarhus, Denmark in 2003. The recordings are the `soundtrack´ to parts of a book written by Christian Haun." [label info]
www.verato-project.de
|
2005 |
€10.00 |
|
| X-NAVI:ET |
Aurum |
10inch (lathe cut) |
Composed, performed and mixed by Rafał Iwański (shanti chimes, metal objects, microphones, fx)
Aurum I recorded live at GOK, Przytoczna, 13.05.2016
Aurum II recorded at Studio Eter, Toruń, May 2019
Mastering: Marcin Bociński legatomastering.pl
Artwork: Ewa Bińczyk ewabinczyk.pl
Thanks to Darek Gorzelak & Piotr Barski
xnaviet.bandcamp.com
Płyta nie jest tłoczona, każdy egzemplarz jest wycinany, w czasie rzeczywistym. Nakład limitowany, numerowany, 66 szt.
X-Navi:Et czyli Rafał Iwański - znany z grup HATI, Alameda 5, Innercity Ensemble, KAPITAL i projektu muzyczno-astronomicznego VOICES OF THE COSMOS. Perkusjonista, z wykształcenia etnolog (UMK w Toruniu), tworzy muzykę elektroakustyczną budowaną na brzmieniu modyfikowanych analogowo i cyfrowo instrumentów elektronicznych i akustycznych. Jako solista zagrał ponad 100 koncertów w Polsce, Niemczech, Wielkiej Brytanii, Austrii, Czechach, na Słowacji i w USA, w tym na festiwalach jak Unsound, Audio Art, Hradby Samoty, Trans/Wizje. Brał udział w nagraniu i realizacji kilkudziesięciu albumów wydanych na nośnikach CD i DVD, płytach winylowych i kasetach. Współpracował koncertowo i przy nagraniach płyt z innymi artystami dźwięku i obrazu takimi artystami jak Z'EV, Richard Pinhas, Peter Votava, Jeff Gburek, Zdzisław Piernik, Jerzy Mazzoll, Raymond Salvatore Harmon i wieloma innymi. Członek Polskiego Stowarzyszenia Muzyki Elektroakustycznej.
https://sklep.gusstaff.com/x-navi-et-aurum-vinyl-10-limited.html |
2019 |
€18.00 |
|
| YANAGISAWA, EISUKE |
Path of the Wind |
CD |
The Aeolian Harp (also called Wind Harp) is a string instrument that is played by natural wind. It sounds like layered feedback or drones with rich harmonic textures that will change continuously according to the wind direction, strength and consistency. One day, I bought the materials at the local DIY store and built a small Aeolian Harp. I brought the harp outside on windy days, but it made no sound at all. Through trial and error, by altering the string materials, tension, and the angle against the wind, it finally produced a sound.
The harp resonates with the surrounding environment, changing from place to place. I put two lavalier microphones into each of its two holes to clearly record the tiny resonant sounds, without too much wind interference. What is intriguing to me is that the recording will inevitably include environmental sounds from near and far which are condensed and slightly modulated by the harp. In a way, I use the harp as a kind of transducer as well as sounding body to interact with the environment through the forces of the wind. The recordings themselves are ecological, meteorological and geomorphological observations at a certain time and place.
1. Ferry Passing
Recorded on the seashore of the uninhabited island called Narugashima in the Hyogo Prefecture, where stiff winds blew intermittently. The sustained low-pitch sounds come from the ferries passing each other off the coast.
Path of the Wind | Eisuke Yanagisawa
2. Seagull
Recorded on the Kehi no Matsubara, a quiet and scenic beach with many pine trees. You can hear the seagull screaming and people chatting while strolling. The beach is located at the foot of the Tsuruga Peninsula where seven nuclear power plants are currently in operation.
Path of the Wind | Eisuke Yanagisawa
3. In a Park
Recorded at the Nodagawa Shinsui Park in Yosano-cho, Kyoto Prefecture. Yosano-cho is a rural town on the alluvial fan surrounded by the mountains; the park itself is located along the Noda River.
Path of the Wind | Eisuke Yanagisawa
4. Old Camellia Tree
Recorded near the 1,200-year-old Camellia tree (Camellia japonica, ‚Kurotsubaki‘) located deep in the valley in Yosano-cho. The height and branch spread of the tree is about 10m, presumably one of the biggest and oldest of its kind.
Path of the Wind | Eisuke Yanagisawa
5. Ridge Line
Recorded in the morning at the Kaetsu Soho Park located half way up Mt. Oeyama in Yosano-cho. Nature and objects on the mountainside fade in and out as the place where the sunlight shines gradually changes.
Path of the Wind | Eisuke Yanagisawa
6. Hegurajima
Hegurajima is a small island located in the Sea of Japan at the far north of the Ishikawa Prefecture. There are various small shrines and cairns on the island. I set up the harp near the Yasaka shrine in which the god of epidemic prevention is enshrined.
Path of the Wind | Eisuke Yanagisawa
7. Kinshozan
Kinshozan is a small mountain located in Ogaki, Gifu Prefecture. The mountain is famous for its abundance of fossils like corals, bivalves and snails which inhabited it about 250 million years ago. People started exploiting its high quality limestone and marble during the Edo period, and the mining-activities are still going on today. I set up the newly-made harp at the watchtower of the mountain where I could see the whole mining area. The intermittent sounds come from the drilling of rocks under the cliff.
Path of the Wind | Eisuke Yanagisawa
7 Tracks (41′14″)
CD (300 copies)
All the recordings are unprocessed field recordings using Aeolian Harps of our own making. Recorded in the Kyoto, Hyogo, Fukui, Ishikawa and Gifu prefecture, Japan from September 2014 to November 2017.
Recording, Edit, Texts: Eisuke Yanagisawa
Audio Mastering: Lasse-Marc Riek
Photography: Shin Tukinaga
Artwork: Takamitsu Ohta
www.gruenrekorder.de/?page_id=16674
|
2018 |
€13.00 |
|
| YAO 91404 D |
LenShunZavod |
CD |
Freak Animal is proud to present 1st real CD release by this obscure Russian industrial-noise unit. Several extremely limited tapes and CDR´s in ther backcatalogue, with various approaches and different levels of success. This CD marks one of their biggest highlights, with crude physically crafted industrial-noise. Even if it crosses borders towards purity of harsh noise once in a while, the spirit of Soviet factory landscapes is always present. 2 long tracks that develop during their playing time to different atmospheres. In jewelbox with b/w artwork. Freak Animal cd-047
https://www.nhfastore.net/YAO91404D-LenShumZavod |
2009 |
€10.00 |
|
| 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 |
|
| Z'EV |
live 03.01.86 |
10inch/object |
Z’EV is back! Z’EV is more than back ! Nicht nur war der legendäre Klangkabbalist in 2004 wieder auf Tour in Deutschland, es sind auch diverse neue Sachen erschienen. Von der Coverartwork am eindruckstvollsten ist sicher diese live-10“ mit einer Aufnahme aus Chicago 1986, denn sie kommt in einem schweren Metall-Cover in 333er Auflage, wobei die Nummer der Edition in jede der Metallplatten einzeln eingraviert wurde! Z’EVs unkonventionelles 1-Mann Metall & Gong-drumming, das sich auf den KLANG und die DYNAMIK konzentriert und nicht aufs Metrum, ist wohl einmalig zu nennen... und genauso sollte man sich auf seine Sounds wohl auch einlassen und sie betrachten: nicht als Komposition, welche es zu analysieren gilt, sondern als Klangalchemie, welche das Selbst in Schwingung versetzt...
„Three excerpts from a 1986 performance at N.A.M.E. Gallery, Chicago. Given the special packaging with this release, it was essential to have the audio component be as special. After listening to a handful of unreleased material Z'EV had given me and comparing it to his released work, I found this performance contained elements I'd not heard developed in previous releases. For one, the components of the pieces shifted quicker; he'd add new instruments and rhythms at more frequent intervals, say 3 to 4 minutes, giving a continuous piece (still between 9 and 12 minutes) a much different dynamic than other recordings. This is presented on side one, and the piece features one of the few instances I've heard where there is a secondary, or "triggered," percussive element. In this case, something akin to ball bearings were placed on a gong, adding a second layer of rhythm as Z'EV worked the gong. This is similar to his well-known car spring on bass drum pieces. Side two opens with one of the few live recordings of Z'EV's rubbing pieces (scraping a metal tube/pole or rubbing a rubber ball on a sheet of metal to make dronish, almost whale-like sounds) which segues into a subtle tonal wash of gong sounds. The final piece on side two is a rapid fire downpour of furious percussion. A unique addition to Z'EV's output, this release comes in an edition of 333 copies in steel plates. Each plate is sequentially hand-stamped, and each copy has an insert signed by Z'EV.”[label info] "Also by Z'ev, but from a historical perspective is a really beautiful 10": packed inside two metal plates which are stamped with 'Z'ev' and the copy number (of a total edition of 333 copies). It resembles that other metal packaging, by Chop Shop from so long ago. Crippled Intellect has released a 3" with historical live recordings before and this 10" features recordings made at the N.A.M.E. Gallery in Chicago in 1986. On the first side there is a rhythmic piece, which doesn't sound like it is kept in the same rhythm, but rather like an exploration of the sounds metal on metal can produce. Side B starts with slow rumbling of metal sheets being rubbed with balls which built in a peaceful way. The second piece is a fast drumming on metal piece‹maybe better known as Z'ev trademark playing. A fine addition to the already vast catalogue of material by Z'ev of which much is no longer available. It could also serve as a fine introduction to his work, in case you missed him out in the eighties." [Frans de Waard, Vital Weekly #411]
|
2003 |
€22.00 |
|
| ZENI GEVA & STEVE ALBINI |
Maximum Implosion |
do-CD |
MAXIMUM IMPLOSION collects all collaborative (and most sought after) pieces between Zeni Geva (KK NULL) and Steve Albini (BIG BLACK / SHELLAC): "Nai-Ha" and "All Right, You Little Bastards!". Also included are bonus tracks from the ultra-limited 12"-only "Superunit", presented with meticulous Cedar mastering by legendary mastering engineer Denis Blackham.
On the first CD, Zeni Geva present ultra-heavy Japanese noise rock, with sludgy riffs, thundering feedback, lumbering drums, subhuman bass crawl, and complex noise textures, with KK Null's trademark vocals / unique guitar accompanied by Albini's heavy guitar. "Nai-Ha" loosely translates to "broken inside", with the title track relaying the gruesome aftermath of a car accident.
The second CD captures Zeni Geva and Steve Albini's live-to-desk tracks from Tokyo & Osaka in 1992. Albini also makes vocal appearances, as well as guitar throughout.
All production and mixing by Steve Albini. Final mastering by Martin Bowes at Cage Studios in England, and presented here in its complete form for the first time on Cold Spring.
Presented in a 6-panel double digipak with original artwork/photo by Mitsushiro Hiruma and design/layout by Alonso Urbanos.
"With a huge sound reminiscent of Godflesh in its heavy bottom and impossibly high-end guitar tones, resulting in almost no mid-range, it's hard to believe that there are only three people in the band... What saves the record from sounding like an impenetrable wall of sludge are a combination of Albini's sure-handed engineering and production, along with the band's precise grasp of noise, dynamics, and song construction... Anybody into sheer, painful heaviness should check this one out!" (Korperschwache).
Steve Albini continued to produce / engineer several albums for Zeni Geva, including 'Desire For Agony' (Alternative Tentacles) and '10,000 Light Years' (Neurot Recordings).
credits
released October 5, 2018
Vocals / Guitar: KK Null
Vocals / Guitar: Steve Albini
Guitar: Tabata Mitsuru
Bass Guitar: Mas-P
Percussion / Drums: Eito Noro
Producer: Steve Albini
https://coldspring.bandcamp.com/album/maximum-implosion-csr260cd
|
2018 |
€16.00 |
|
| ZOS KIA |
23 |
3 x LP |
The final and complete anthology of ZOS KIA recordings known under title “23” now released on limited vinyl set with different artwork and remastered especially for vinyl by Martin Bowes(Attrition) on The Cage Studio.
- DELUXE 3LP Triple-Gatefold Set, limited to 450 copies.
infinitefog.bandcamp.com/album/zos-kia-pre-coil-23
|
2018 |
€46.00 |
|
| [LAW-RAH] COLLECTIVE, THE |
Solitaire |
CD |
"Like on the 2008 Ant-Zen album 'Inspiration', the duo Martijn Pieck and Bauke van der Wal upped the ante with the collective's 7th full release. Sound wise they return to the collective's origins: a combination of ambient structures and deep drones with sudden breaks in the sound spectrum. 'Solitaire's threatening and oppressive mood will leave you in a state and in a place where you haven't been before. A new reality which is more then the sum of its parts." [label info]
"Wer das Niederländische [Law-Rah] Collective auf seinem Konzert in Berlin (24.10.2009) gesehen hat und den experimentalektronisch Sound mit ätherischem Frauengesang und Spoken word-Einlagen goutierte, wird vermutlich über das aktuelle Album 'Solitaire' überrascht sein: In dem stimmungsvoll gestalteten Cover wartet ein erstklassiges Instrumentalalbum.
'Solitaire' hört man seine sorgfältig konstruierten Klangwelten deutlich an: Mit Fieldrecordings, langen Drones, gelegentlichen dumpfen Beats und filigranen Keyboard- und Piano-Melodien entadfltet sich ein geisterhafter Soundtrack, der sich großartig mit der im Artwork angelegten Bildwelt ergänzt. Melancholisch und unheimliche Passagen gehen über in wohlige Erinnerungsfetzen - 'Solitaire' ist ein großartiger Soundtrack zum Schwelgen im Persönlichsten.
Mit ihrem aktuellen Album ist dem [Law-Rah] Collective eine wunderbare impressionsitsische Komposition gelungen, die auf überdeutliche Samples und esoterische Gimmicks leicht verzichten kann. Glaklarer Ambient für das Innere Kino." [Marcus Stiglegger, Ikonen] |
2009 |
€6.00 |
|
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