excellent compilation on the theme "geography" with 11 tracks by ERIC LA CASA, STEPHEN VITIELLO, ASHER, JEPH JERMAN, T. TSUNODA, MARC BEHRENS, FRANCISCO LOPEZ, etc..

The hugely sought-after debut album from Dead Voices On Air (Mark Spybey of Download/ ex-Zoviet France, Reformed Faction), featuring Cevin Key (Skinny Puppy/Download). Abrader blends processed sounds from primitive instruments and found objects into hypnotic looped rhythmic structures, with dark clusters of heavy ambient washes into what could be described as "organic panambience", or "music for the eyes". Abrader was the first of over 80 releases (so far) by Mark Spybey using the name Dead Voices On Air. It was recorded over the space of days in Vancouver in 1993 and released as a tape the following year by Akifumi Nakajima (Aube), for his G.R.O.S.S. label. Chronologically, the material was recorded after most of the music that made up his first two releases on compact disc -- New Words Machine and Hafted Maul -- however, Abrader was released before both of those albums. Abrader Redux features the three lengthy tracks that were released on the original cassette, plus the bonus tracks that were included in the 2009 reprint as part of the Fast Falls The Eventide double-CD, and now with two "new" previously-unreleased bonus tracks recorded 1994 -- taking this masterwork up to seven tracks and over 67 minutes of exceptional music. This release is dedicated to the memory of both Akifumi Nakajima and Zev Asher who both passed away in 2013. Spybey was introduced to Akifumi by his friend from Vancouver, Zev Asher. Zev had a noise project called Roughage and was also in a band called Nimrod, that had at one time been based in Japan. Remastered by Martin Bowes from Attrition. Packaged in a matt-laminate digipak with art by Spybey, beautifully laid out by Abby Helasdottir. "If most ambient is the laudanum of the new fin de siécle, then Dead Voices on Air are the absinthe" --Village Voice. https://coldspring.bandcamp.com/album/abrader-redux-csr320cd

"49 Artists, 28 shows, 10 years… Thomas Dimuzio and friends deliver a stunning live anthology of noise, dark ambient, textural, experimental, and electro-acoustic music in distinct duo, trio, and combo configurations. Exquisite excerpts combine the sublime synergy of live spontaneous music with the visceral energy of the stage across this colossal and compelling collection. Dimuzio’s modular electronics and live-sampling prowess serve as the common thread as he teams with a dazzling array of fringe music luminaries: Scott Amendola, Cilla Vee, Bob Bellerue, Chuck Bettis, Easy Bake Oven, Illusion Of Safety, Demonsleeper, Fugitive Pope, Alan Courtis, Beth Custer, Matmos, Antimatter, Evelyn Davis, Doctor Nerve, Sharkiface, Jon Evans, Thea Farhadian, Kris Force, Phillip Greenlief, Solid Eye, Emily Hay, Shelley Hirsch, Motoko Honda, Aurora Josephson, Blevin Blectum, Joe Lasqo, Wobbly, Scott Looney, Robert Aiki Aubrey Lowe, Ava Mendoza, T.D. Skatchit, Transient, Arcane Device, Kanoko Nishi-Smith, Rick Reed, Gino Robair, Xambuca, Moe! Staiano, Amma Ateria, Larry Thrasher, Richard Teitelbaum, Lori Varga, Music For Hard Times, and Kit Young. ####################################### Balance is dedicated to the listener, the audience, the venues, the sound systems, the promotors and to everyone that does what it takes to make live music happen and thrive. Balance could not exist without any one of these vital elements. For music lovers our lives revolve around seeing our favorite bands and supporting local artists, spaces and venues. We can only hope that the musicians and venues will persevere during this pandemic and that live music will recover and thrive again. My heartfelt thanks also goes out to all of the artists on this record. It is a true thrill to make music together and an honor to know you as a friend. All of the music in this collection was composed live by the performers on each track. All tracks were engineered and recorded live by Thomas Dimuzio (except for B8 recorded by Mitchell Brown & C10 recorded by KFJC-FM). All material was edited, mixed and mastered by Thomas Dimuzio (except A8 mixed by Xopher Davidson). Cover design and layout by Thomas Dimuzio. ©Ⓟ2020 Gench Music (BMI) Scott Amendola Claire Elizabeth Barratt (Cilla Vee) Bob Bellerue Chuck Bettis Gregg Bielski (Easy Bake Oven) Dan Burke (Illusion Of Safety) Alexandra Buschman (Demonsleeper) Barry Conley (Fugitive Pope) Alan Courtis (Reynols) Beth Custer Drew Daniel (Matmos) Xopher Davidson (Antimatter) Evelyn Davis Nick Didkovsky (Doctor Nerve) Angela Edwards (Sharkiface) Jon Evans Thea Farhadian Kris Force (Amber Asylum) Phillip Greenlief Joseph Hammer (Solid Eye) Emily Hay Shelley Hirsch Motoko Honda Aurora Josephson Bevin Kelley (Blevin Blectum) Joe Lasqo Jon Leidecker (Wobbly) Scott Looney Robert Aiki Aubrey Lowe Michael Lytle (Doctor Nerve) Ava Mendoza David Michalak (T.D. Skatchit) David Molina (Transient) David Lee Myers (Arcane Device) Kanoko Nishi-Smith (KaMoTo Trio) Tom Nunn (T.D. Skatchit) Rick Potts (Solid Eye) Rick Reed Gino Robair M.C. Schmidt (Matmos) Chandra Shukla (Xambuca) Moe Staiano (KaMoTo Trio) Jeanie-Aprille Tang (Amma Ateria) Larry Thrasher (Thee Majesty) Richard Teitelbaum Lori Varga Paul Winstanley (Music For Hard Times) Kit Young https://thomasdimuzio.bandcamp.com

"Lotus Eaters is Stephen O'Malley (Sunn O))), KTL, etc.), James Plotkin (Khanate, Phantomsmasher, etc.) and Aaron Turner (Isis, Old Man Gloom, etc.). Previously issued on CD, Plotkin has remixed, remastered and rearranged Wurmwulv for this vinyl edition using alternate takes from the original recording sessions. The 2LP also includes reworked material from Lotus Eaters' self-titled 7" released by Drone Records. 52 minutes and 29 seconds on 3 sides of direct metal mastered 200 gram virgin vinyl, the 2LP has a drawing by Turner etched on side D. Housed in a Stoughton tip-on gatefold jacket designed by O'Malley, Wurmwulv features Stephen Kasner paintings printed on linen-textured woven paper, a spot varnished interior and flooded pockets. The Kasner paintings and Turner drawings included were created specifically for this vinyl edition of 1,000. Reconfigured for vinyl, Wurmwulv is a solvent-soaked carpet ride into loose soil. Worms writhe over cilia as moist roots lick and graze skin. The dampened howls of wolves reverberate through water freezing into creaking crystals. When oxygen levels reach a critical low, a cacophony of clanging metal provides an inhalation of humid air." [label info] www.taigarecords.com

"CD edition limited to 500 copies. This collection of works was assembled in 2009 and was composed using piano, a broken phonograph player, field recordings and sampled material. I think that this release embodies a certain diversity in terms of content because at the time I was recording these works I was experimenting with several different approaches to developing new compositions involving the use of a more melodic approach to things. Once the release was completed, I had several thoughts in reference to a title and the title 'The Body As I Left It' seemed the most appropriate to me given the circumstances that had occurred during the time of it's creation. (text by Christopher McFall) On this new series of recordings Christopher McFall enriches his personal urban ethnographic work with a palette of concrete musical materials and the sounds of failing playback equipment. This combination has yielded an album which succeeds in remaining a recognizable development in the work of this composer, while revealing a whole range of sensibilities which were previously not heard in his recordings. Once again Christopher has created a work of great subtlety which contains a sense of narrative while eluding any simple descriptives or conclusive understanding of its contents. (text by Asher Thal Nir)" [label info] "Not much information on this new release by Christopher McFall. 'composed in Kansas City, MO 2008-9', 'untitled i-vii' and the title. Not even the website of Asher's label Sourdine is mentioned on the package. Let the music speak for itself. McFall has had already a bunch of releases on Gears Of Sand and Entr'acte, and also in the digital domain his work can be found. Up until now I believed his work was mainly based around the extensive use of field recordings and processing thereof. The empty land around Kansas City, the empty warehouses and silos, but here, perhaps for the first time, it seems that McFall also uses musical instruments, primarily, I think, piano sounds. These too are processed, and mingled with the field recordings and voice material. Its an interesting new phase McFall enters here. The overall musical touch brought to the table is gentle, quiet and altogether alters the music of McFall quite a bit. The sound is deepened, without losing its original focus. The musical elements are a great supplement to the field recordings, but perhaps that could also be said vice versa. An excellent work. This music indeed speaks for itself." [FdW/Vital Weekly]

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.]

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

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

https://coldspring.bandcamp.com/album/a-prayer-for-derek-jarman-csr351cd Unavailable for almost 30 years in its own right, this collection from the Cold Spring archive has been repackaged and remastered with new art. This classic album exists as a document of the soundtrack work PSYCHIC TV created for the many films and videos of Derek Jarman. Another demonstration of why PSYCHIC TV were one of the most important groups in the world. The titular track, 'Prayer For Derek', is intended as an invocationary prayer, based on Tibetan rituals; a collage of sounds including field recordings of the lulling waves running aground on the shingle beach opposite Jarman's Prospect Cottage in Dungeness, Kent alongside bird song, crying babies, and massed ritualised chants to aid the late film director in his after-life journeys. Other tracks feature elongated drones, washes of dissonance, melancholic guitar chime, evocative piano scoring, Burroughs cut-ups, gothic chants, and familiar snarling dogs. Musicians: Genesis P-Orridge, John Gosling (Zos Kia, Coil, Mekon), and Larry Thrasher. CD in matt digipak with 8-page fold-out booklet, with detailed liner notes by Genesis P-Orridge (1997); Astorical anecdotes and background facts for completeness. "The Loops Of Mystical Union" Theme for Home Movies a video journal by Derek Jarman. "Elipse Of Flowers" Theme for Home Movies a video journal by Derek Jarman. "Mylar Breeze" Themes for a short movie circa Sebastiane by Derek Jarman. "Prayer For Derek" Theme expressing personal reminiscence and prayers from 1969/1993 and beyond. "Rites Of Reversal" Tonal theme intended for a film by G. P-Orridge of Williams S. Burroughs for which Derek Jarman was the camera person. Recorded At – The Building Site Recorded At – Jhopdi Studios Co-producer – Genesis P-Orridge (tracks: 6), Larry Thrasher (tracks: 6) Liner Notes – Genesis P-Orridge, Larry Thrasher Producer – Genesis P-Orridge (tracks: 1 to 5) Remastered By – Genesis P-Orridge, Larry Thrasher vD in matt digipak with 8-page fold-out booklet, with detailed liner notes by Genesis P-Orridge (1997); Astorical anecdotes and background facts for completeness

"Madrid (and Cologne) based Miguel Angel Tolosa has a solid musical background both in electroacoustic & contemporary composition, and he’s also quite versed into sound engineering and producing techniques. Most of all, he’s the long operating figurehead behind the highly respectable Con-V label. His area of expertise is drones & field recordings tinted, and he has published works on many labels such as among others : Winds Measure Recordings, Non Visual Objects, Twenty Hertz, Drone Records… As a dedicated listener/explorer, his music displays a large textural palette, and is infused with that underlying beauty all around us… This album has been saved from loss and was initially to be released on Asher Tuil’s now defunct & missed Sourdine label. “haereo” speaks forlorn rainy tales or exhales morning urban springs… a sea of untranquility where small streams abound, like so many darker veins and obscure skin maps… Faint echoes exude from exhausted machinery, a mass of dying waves, a trail of stars pointing to nowhere, closed doors, and nocturnal flames in the distance, dead intrepid plants swaying in the wind… “haereo” is a flux of broken memories, something reached out for, brushed, something singularly mighty, which takes us beyond, deep at heart " [label info] www.mysterysea.net "Miguel Angel Tolosa works as Ubeboet since quite some time and has as such a number of releases, although the word 'overproduction' certainly doesn't apply to him. The cover says he worked on this from 2008 until 2012 and that he takes credit for electronics and field recordings; the latter being taped in Prague, Madrid, Lozoya valley area (Spain), Aguilar de Campoo area (Spain) and Serra San Bruno (Italy), while Ingar Zach plays bowed singing bowls on one piece. What's interesting to note is that in the first piece, 'Eaden', there are indeed quite some field recordings, but all of birds and insects, rather than what we are used to with this label, which is all things aquatic. In 'Umbrae' the microphone is thrown into the deep end and picks up signal below sea-level, along with Zach's bowed singing bowls. Below and above sea-level is where we find 'Sanatorium Rose', the final and longest piece on this release (which is about thirty-six minutes in total length), but there is also the motor-hum from a boat passing as drone music. In all three pieces we find Ubeboet's strong love of all things very dark. Much of the way he processes his sounds is to melt these field recordings by computer means and maybe all things analogue (either, or) and filter out much of the mid-high end until the darker rumble remains. In that way, Ubeboet surely has a strong own voice compared to his peers, which is a great thing and he shows it best in a release like this." [FdW/Vital Weekly]

https://soundmiraclerecordings.bandcamp.com/album/take-a-knife-and-open-my-heart Flamenco music has been admired throughout the world for centuries. Fascinating, unique, esoteric and mysterious, alloy of fire and witchcraft. Flamenco is much more than that. It has something of Folk, something of Sacred Music, something of “Blues”: it is a unique music in the world, born of many factors and opposite and antagonistic elements, like its country of origin. And like other traditions, it‘s not just music, it‘s a way of life. This compilation also brings us echoes of that way of life and aromas of places that today seem distant galaxies. For the connoisseur, names like La Niña de los Peines, Manuel Torre, Aurelio, Carmen Amaya, El Niño Ricardo, Melchor de Marchena and others will make mouth water. As if that were not enough, underground gents such as Sarita Heredia and Pericón de Cádiz coexist side by side with these great historical names. Bearing in mind that they can never be all they are in one single disc; the selection of voices is exquisite: from the acute of Manuel Vallejo to the wounding of Angelillo or Manolo Caracol, and everything that fits in between... Fan of flamenco guitar, what are you not going to find here?: Melchor de Marchena, Niño Ricardo, Sabicas, Borrull, Manolo de Badajoz, Perico el del Lunar... First swords! And the one who approaches flamenco for the first time must let himself be carried away by the brutally honest sensation when listening for the first time to Sabicas’s guitar and Carmen Amaya’s taconeo. There is a lot to enjoy here. The present compilation shows some of the earliests examples of Flamenco music recorded; brutal and exciting music, that easily combining the known and the darkest (legends), is more accessible and attractive for the audience that is approaching for the first time. And with this “pop” spirit, let’s say, to look for a good song above all: this is a collection of Smashers and Cannon Shoots.

"A discovery of folk music from dark Britannica. 'John Barleycorn Reborn' explores seasonal birth, death and rebirth on this double CD. Our cycle begins at Lammas 2007 (1st August), a day traditionally known for 'the first fruits of the harvest'. Pre-orders begin on this day. All orders also receive a free complementary thirty-three track download only set of further music. This compilation explores the darker side of British folk music, evoking the mystery of our ancient past and peoples, the strangeness of their beliefs, arcane traditions and the remnants of this carried down the centuries as folklore. The set has an extended booklet with articles, essays and explorations of the album's concept. The album is a collaboration between Cold Spring and Woven Wheat Whispers, a folk music artist community and legal download service (where the third part complementary part will be available). Curated by Mark Coyle. Track Listing: Disc 1 1. The Horses Of The Gods - 'John Barleycorn' | 2. The Owl Service - 'North Country Maid' | 3. The Story - 'The Wicker Man' | 4. Damh The Bard - 'Spirit Of Albion' | 5. Mary Jane - 'Twa Corbies' | 6. Andrew King - 'Dives And Lazarus' | 7. The Triple Tree - 'Three Crowns' | 8. Sol Invictus - 'To Kill All Kings' | 9. Sieben - 'Ogham On The Hill (Remix)' | 10. Sharron Kraus - 'Horn Dance' | 11. Charlotte Greig And Johan Asherton - 'Lay The Bent To The Bonny Broom' | 12. Pumajaw - 'The Burning Of Auchindoun' | 13. Peter Ulrich - 'The Scryer & The Shewstone | 14. Alphane Moon - 'Where The Hazel Grows' | 15. English Heretic - 'Hippomania' | 16. Far Black Furlong - 'Icy Solstice Eye'. Disc 2 1. The Anvil - 'John Barleycorn Must Die' | 2. Tinkerscuss - 'To Make You Stay' | 3. The Straw Bear Band - 'Trial By Bread & Butter' | 4. Electronic Voice Phenomena - 'The Sorrow Of Rimmon' | 5. The Purple Maids Of Lazeron - 'Dragonfly' | 6. Sand Snowman - 'Stained Glass Morning' | 7. The A Lords - 'Summerhouse' | 8. The Kitchen Cynics - 'The Guidman's Ground' | 9. Quickthorn - 'PewPew' | 10. Clive Powell - 'Reed Sodger' | 11. Venereum Arvum - 'Child 102 Willie And Earl Richard's Daughter' | 12. Drohne - 'Nottamun Town' | 13. Stormcrow - 'Gargoyle' | 14. Doug Peters - 'Pact' | 15. While Angels Watch - 'Obsidian Blade' | 16. Xenis Emputae Travelling Band - 'John Barleycorn: His Life, Death And Resurrection' | 17. Martyn Bates - 'The Resurrection Apprentice'." [label info] www.coldspring.co.uk

300 Seiten starkes, sehr schön aufgemachtes Kunstbuch (herausgegeben von BRANDON LABELLE und KEN EHRLICH) mit CD zum Thema „Kunst im öffentlichen Raum“ bzw. zur Frage des Ortes der Kunst, der Dialektik von Innen und Aussen, der Beziehung von innerem Wunsch und äusserem Raum... mit vielen Projektbeschreibungen & Essays, Fotos, und CD mit Klang- und Installationskünstlern: Bruce Nauman, Paul Panhuysen, Anthony Moore, Erik Nauman, Stuart Dempster, Frances-Marie Uitti, Undo, Yoko Ono, Terry Fox, Alison Knowles, Atau Tanaka. Super-Aufmachung & hochinteressante Musik & Projekte, mit diesem Buch kann man Stunden verbringen !! "Edited by Brandon LaBelle and Ken Ehrlich. CD compiled by Stephen Vitiello. CD mastered and manufactured by Ground Fault Recordings. Published by Errant Bodies Press (300 page, 8.5"x11", book with compact disc)" "Surface Tension aims to broadly explore the notion of Site by addressing questions of public space and the frictions and conversations that occur as intersections of the imagined and the real. Through investigating these interactions, Surface Tension will seek to make apparent connections between cultural production and the very spaces in which such work functions. As much as the rhetoric of globalization, virtuality, and digital networking dominates contemporary discourses of place and space, Surface Tension looks towards proximate space and experiences of locality to tease out the tensions between contemporary global communications and the site-specifics of everyday life. Rather than reinforce existing notions of an authentic alternative vs. a 'wired' culture, we hope to explore the cultural and personal investments made in technology in order to examine how social andpolitical space is inhabited and made manifest. This entails a consideration of the desires, impulses, and longings which occur within and against the contexts of social spaces and cultural arenas, and how this very interaction performs within the dynamics of spatial organization. Out of these relations comes the radically diverse ways space can be negotiated, manipulated, and traversed." "From Gordon Matta-Clark to Lawrence Weiner, Bruce Nauman to Alison Knowles, the question of site locates itself in issues of public space, at the intersection of the imagined and the real, at the juncture of performance and architectural production. By anthologizing essays, documents, and interviews by leading critics, historians, and artists on issues of site-specificity, conceptualism, feminism, and architecture practice, Surface Tension reveals the connections between cultural production and the very spaces in which such work functions. These textual explorations are complemented by extensive documentation of related projects, both historical and contemporary, by artists, architects, and performance artists, including Coughing Piece, a never-before released 1961 audio work by Yoko Ono; an obscure audio work by Nauman from 1969; projects by Suzanne Lacy, a leading figure in the development of conceptual practice and public art; and an experimental text by Jane Rendell on psychic architectures. Conversations occur between the pages of Surface Tension, between theoretical analysis and modes of practice, that activate the publication as a site itself, one participating in a broad field of knowledge. Includes an audio CD of the sound art pieces." Essays/Writings: Kathy Battista, Jennifer Gabrys, Gordon Matta-Clark, Margaret Morgan, Paul Panhuysen, Lucy Lippard, Laurie Palmer, Brandon LaBelle, Ken Ehrlich, Jane Rendell, Juli Carson, Atau Tanaka, Michael Asher, Simon Leung Documentation of Projects: Concrete Steps, Jen Hofer/Melissa Dyne, Kim Abeles, Carol Brown, Wochenklausur, Christof Migone/Alex St-onge, Michael Rakowitz, Eyal Weizman, Rafael Lozano-Hemmer, Tanja Jordan, Lizzie Scott, Lize Mogel, Terry Fox, Lynn Kirby, Octavio Camargo, Colette Meacher, Valerie Trever CD: Bruce Nauman, Paul Panhuysen, Anthony Moore, Erik Nauman, Stuart Dempster, Frances-Marie Uitti, Undo, Yoko Ono, Terry Fox, Alison Knowles, Atau Tanaka." [label info]

Ditterich von Euler-Donnersperg, also known as Uli Rehberg and most certainty other names, is a mythologized figure in Germany's industrial underground. The man behind Walter Ulbricht Schallfolien, a label responsible for early releases by Throbbing Gristle and SPK and for being the home of the enigmatic Werkbund, it is long believed that Ditterich is part of, or completely behind, Werkbund himself. A Colourful Storm presents another piece of his puzzle. Wisdom from the child’s mouth always tells us the truth. It’s hard to overstate the influence of Ditterich von Euler-Donnersperg on A Colourful Storm; indeed, it’s almost impossible to imagine the label’s existence without it. A figure whose movements within Germany’s industrial avant-garde span almost forty years, it would be in 2010 that he unknowingly entered our orbit through two important releases. At the time, SPK’s Auto-Da-Fé and Throbbing Gristle’s Journey Through A Body left some impression on us, their discovery propelling an interest in the possibilities opened up by industrial music that we still explore today. Responsible for publishing these releases was Walter Ulbricht Schallfolien - who, or what, were they? Founded in 1980 by Hamburg-based Uli Rehberg, Walter Ulbricht Schallfolien was a base for Laibach, Asmus Tietchens and Werkbund as well as Rehberg’s own artistic endeavours: the most devilishly humorous his adopting of the name Dr. Kurt Euler, spokesperson of a satirical political party comprised of musicians Felix Kubin and Gregor Hartz. The project would foreshadow the life of Ditterich von Euler-Donnersperg, an alias unveiled in 1998 with the first in a series of spoken word 7” picture discs that have since become highly collectable. Attracting an enviable list of collaborators throughout his career (John Duncan, Thomas Köner and Column One have all lent their expertise), it is perhaps the enigmatic Werkbund project that remains most coveted within the world of von Euler-Donnersperg. Cloistered and clandestine since their inception in 1987, their brooding, synthetik atmospheres have long been speculated to be the work of von Euler-Donnersperg himself. Listen to Werkbund’s Skagerrak or Stahlhof and tell us we’re wrong... The culmination of decades of sound research and electroacoustic investigation, Weisheit aus des Kindes Mund tut uns stets die Wahrheit kund is significantly also a tribute to von Euler-Donnersperg’s children, their voices and spoken word hocus-pocus conjuring clairvoyant visions amongst soaring metallic sheen and spectralist digital debris. Cybernetic ooze spilling into servers and causing subdued bleep signals and static. A slasher film soundtrack starring the German avant-garde dressed in laboratory coats. The latest piece of von Euler-Donnersperg’s peerless, endlessly imaginative puzzle. https://acolourfulstorm.com/album/weisheit-aus-des-kindes-mund-tut-uns-stets-die-wahrheit-kund

Licenced from and 100% approved by YOKO ONO, this is the first official album with recordings based on ONO's 1964 collection of texts, event scores and drawings "Grapefruit", a foundational cornerstone of what became known as conceptual art, and enveloping the orbits of Fluxus and experimental music. Performed by THE GREAT LEARNING ORCHESTRA which has during the 25 years of its existence worked with GAVIN BRYARS, TERRY RILEY, PAULINE OLIVEROS, J.G. THIRLWELL, ARNOLD DREYBLATT a.o. Originally self-published in 1964 in a limited edition of 500 copies under YOKO ONO's own imprint, Wunternaum Press, and later reprinted in expanded editions, the collection of over 230 texts, event scores and drawings that comprise "Grapefruit" has long been considered a foundational text in what became known as Conceptual Art, and envelops the orbit of Fluxus and experimental music. Though comparisons to JOHN CAGE may seem obvious, ONO's first attempts at textual composition actually pre-date her first encounter with the American composer by around a decade and have evolved free from CAGE's influence. Another factor that sets these scores apart from associated forms of verbal notation from the same period (like LA MONTE YOUNG's "An Anthology Of Chance Operations" – with a contribution from ONO - or GEORGE BRECHT's "Water Yam", both from 1963) is ONO's ambivalence towards the necessity, or even possibility, of their physical realization – insteadthe idea being that the realization should take place in the mind of the reader ("Music of the Mind" is also the title of the current traveling exhibition which opened at Tate Modern, London in 2024). However, a number of pieces from "Grapefruit" function very well as performance or event scores, with several of them becoming mainstays of ONO's concerts and performances throughout the early to mid 1960s. But hardly any performances have been recorded and released on disc (one notable exception being SONIC YOUTH's recording of "Voice Piece For Soprano") – so, 60 years after "Grapefruit" first appeared, "Selected Recordings From Grapefruit" is the very first full album of pieces selected from the many sections of the book. The sonic realizations presented here are of a number of different kinds, encompassing studio-based ensemble performances, but also location, environmental and field recordings (and at times combinations of these), as the scores themselves dictate, and for the most part recorded live and acoustically, such that the performances, actions, situations and environments that you hear are real. The accompanying booklet with rare performance photos and some original typewritten scores from ONO's personal archive also includes the text instructions for each piece - thus allowing the listener to make a connection between the imaginative engagement and creative activity executed by the performing members of THE GREAT LEARNING ORCHESTRA and the resulting recording. With 20 tracks and approx. 85 minutes duration, "Selected Recordings From Grapefruit" finally brings to ear some of the most important and influential 20thcentury avantgarde art! ----- Yoko Ono is an artist, musician, composer and peace activist, born in Tokyo, Japan in 1933. She was active with the international avant-garde music, art, and performance scenes of the early 1960s, organising a series of important events in her New York loft, also active in Tokyo and London, and later becoming a key figure within the Fluxus network of artists. Her 1964 book of instructions, drawings and texts Grapefruit, is regarded as a cornerstone of what became known as conceptual art. Her solo albums, including Yoko Ono/Plastic Ono Band (1970), Fly (1971) and Approximately Infinite Universe (1973) have proved to be highly influential on the emergence of punk, post-punk, new wave, noise and a wide range of later experimental popular musics. She has staged many high-profile campaigns to promote world peace, including the international WAR IS OVER! If you want it billboard campaign (1969), and the proclamation of the conceptual state of Nutopia (1973), in collaboration with John Lennon, and the IMAGINE PEACE TOWER, near Reykyavik, Iceland (2007). As an artist, she has exhibited at numerous galleries, museums and institutions internationally. In recent years, this has included a series of retrospective exhibitions, including "YES YOKO ONO" at Japan Society, New York (2001), "Yoko Ono: One Woman Show, 1960 – 1971" at the Museum of Modern Art, New York (2015) and "Yoko Ono: Music of the Mind" at Tate Modern, London (2024). ----- The Great Learning Orchestra is an ensemble based in Stockholm, Sweden, which has been organising performances, workshops and events for 25 years. Essentially a network where musicians and artists come together to perform exploratory music, which centres around practices of listening. The ensemble is self-selecting from a list of over 100 musicians for each new project. The GLO was founded in 1999 by Leif Jordansson and Pelle Halvarsson and since its inception has performed a large variety of contemporary and experimental works. The group has worked with Gavin Bryars, Terry Riley and Pauline Oliveros, and in recent years has collaborated with and commissioned new work from J.G. Thirlwell, Arnold Dreyblatt, Christina Campanella and Leah Asher amongst others. Several musicians, composers and artists have also contributed to the A4 Project, which investigates the possibilities of scores written to fit on a single side of A4 paper. The orchestra's name is derived from British composer Cornelius Cardew's work The Great Learning, a large-scale experiment in social music making, and the ensemble is in many ways influenced by this legacy of openness, experimentation and participation. Credits: All compositions by Yoko Ono Copyright by Yoko Ono 1964, 1970, renewed 1992, 1998 Produced by Robin McGinley Recorded, engineered, mixed and assembled by Ricardo Atienza, Niklas Billström, Robin McGinley and Leif Jordansson Mastering and lacquer cut by Kassian Troyer at D&M, Berlin Artwork concept by Thomas Herbst Layout and design by kaidoh https://karlrecords.bandcamp.com/album/selected-recordings-from-grapefruit