the sequel to "Henosis I-V" (2016) has an even stronger 'cosmic' synth touch, when sequencer sounds build the basis for the almost orchestral formations, sometimes overwhelmingly floating, sometimes more subtle and melancholic...."It's the cinematic experience of the synth passages that make you even think of the darker paths that Tangerine Dream took but never losing its post-industrial core with Coil in mind." [Felt Hat Reviews] - 300 copies

recordings from summer 2021, all based on Zither, drones and loops, field recordings and small instruments, encouraging ambience with the approach of connecting to everything that surrounds us in nature through sound, an endless metamorphosis and transformation of nourishing vibrations, "yeast for the soul" ! - lim. 200

articles & reviews about BRENDAN PERRY (yes!), NADJA & OVO live, CURRENT 93 (Ja!), LIZ ALLBEE, etc.; releases by EDITION RZ, UNSOUNDS, KÜNSTLERHÄUSER WORPSWEDE, BASKARU, GRUENREKORDER, EDITIONS MEGO, NONVISUALOBJECTS, STAUBGOLD; etc etc. deutsche Sprach, 88 Seiten, handliches Format, günstig & geistreich !

"2. WÜRZBURGER ARTROCK-FESTIVAL 2010 w/ ARANIS, SLEEPYTIME GORILLA MUSEUM, MAGMA; PORTICO QUARTET - EIVIND AARSET SONIC CODEX QUARTET - DARKRAD - BUCKETTOVSISSORS - B°TONG - FTBPD LIVE; SPOTLIGHTS ON COLIN MARSTON - SAM AMIDON - BRENDAN PERRY - ZEITKRATZER - MAX EASTLEY - ZS; 88 SEITEN REVIEWS." deutsche Sprach, 88 Seiten, handliches Format, günstig & geistreich !

Artrock Festival Würzburg 2011, Live: Kayo Dot – CINC; Lache Bajazzo: Über Freaks und Humor; Spotlights: Evelyn Evelyn – Budam – Xavier Garcia; Haunt of the Unresolved: De Nato et de "L'Origine du Monde" + ausführliche Reviews von neuen RUNE GRAMMOFON, TZADIK, FIREWORK EDITION, KORM PLASTICS, eMEGO, LICHT-UNG, M=MINIMAL, PSYCH.KG, NITKIE, STAUBGOLD-Releases. Deutsche Sprach, 88 Seiten, handliches Format, günstig & geistreich !!

reviews & articles: DIE WELT IST DRÖHN (incl. Drone Top Ten from BarakaH!), TOUCH, ReR MEGACORP, TZADIK, UTECH Records, RUNE GRAMMOFON, ATTENUATION CIRCUIT, EMPREINTES DIGITALES, MONOTYPE, and much more from experimental, drone, post-industrial, impro & advanced jazz-scene.. Deutsche Sprach, 88 Seiten, handliches Format, günstig & geistreich !!

reviews & articles: DEAD CAN DANCE, FREAKSHOW ARTROCK FESTIVAL, RUNE GRAMMOFON, MONOTYPE REC., UNSOUNDS, ATTENUATION CIRCUIT, PSYCH.KG, EDITIONS MEGO,SCHHH...REC., SUB ROSA, and much more from experimental, drone, post-industrial, impro & advanced jazz-scene.. Deutsche Sprach, 88 Seiten, handliches Format, günstig & geistreich !!

reviews & articles: ALBATRE, CASSIBER, ELLIOT SHARP, HINTERZIMMER, EYVIND KANG, RUNE GRAMMOFON, BASKARU, CRONICA, DRONE RECORDS, EMPREINTES DIGITALES, MONOTYPE, TOTSTELLEN, CHMAFU NOCORDS, IDEOLOGIC ORGAN, FIREWORK EDITION, SUB ROSA , and much more from experimental, drone, post-industrial, impro & advanced jazz-scene.. Deutsche Sprach, 88 Seiten, handliches Format, günstig & geistreich !!

new reviews & articles: LA STPO, IDIOSYNCRATICS, GO OST!, 12K, 1000FÜSSLER, ATTENUATION CIRCUIT, DOMESTIC VIOLENCE REC., MEGO, TRANSGREDIENT & DRONE REC. and much more from experimental, drone, post-industrial, impro & advanced jazz-scene.. Deutsche Sprach, 88 Seiten, handliches Format, günstig & geistreich !

neue Artikel & Rezensionen, sophisticated durch und durch: FAMILY FODDER, JOZEF VAN WISSEM, SVEN-AKE JOHANSSON, ALREALON MUSIQUE, ATTENUATION CIRCUIT, BASKARU, EDITIONS MEGO, TOUCH, CENTRE FOR RESEARCH IN NEW MUSIC, KARLRECORDS, UNSOUNDS, und vieles mehr aus der experimentellen, drone, post-industrial, impro & Neue Musik & Jazz-Szene... Deutsche Sprach, 88 Seiten, handliches Format, günstig & geistreich !

neue Artikel & einzigartig formulierte Rezensionen : LA STPO, NO EDITION, AUF ABWEGEN, EMPREINTES DIGITALES, HERBAL INTERNATIONAL, SPECTRUM SPOOLS.... und vieles mehr aus der experimentellen, drone, post-industrial, Impro & Neue Musik & NowJazz-Szene... Deutsche Sprach, 88 Seiten, handliches Format, günstig & geistreich !

neue Artikel & einzigartig formulierte Rezensionen: KRENG, LEIF ELGGREN, SUB ROSA, HELEN SCARSDALE AGENCY, SUBSTANTIA INNOMINATA, ATTENUATION CIRCUIT LABEL NACHT & IF BWANA, ReR MEGACORP, ROB MAZUREK, .. und vieles mehr aus der experimentellen, drone, post-industrial, Impro & Neue Musik & NowJazz-Szene... Deutsche Sprach, 88 Seiten, handliches Format, günstig & geistreich !

neue Artikel & einzigartig formulierte Rezensionen: RUNE GRAMMOFON, SUB ROSA, JULIA HOLTER, ATTENUATION CIRCUIT, KARL RECORDS, 90% WASSER, PSYCH.KG, ReR MEGACORP, MERZBOW, und vieles mehr aus der experimentellen, drone, post-industrial, Impro & Neue Musik & NowJazz-Szene... Deutsche Sprach, 88 Seiten, handliches Format, günstig & geistreich !

neue Artikel & einzigartig formulierte Rezensionen: HELEN SCARSDALE AGENCY, KONSTRUKTIVISTS - Interview, EDITIONS MEGO, MONOTYPE, LENKA LENTE, MOONDOG, MAJA S.K. RATKJE, STAUBGOLD, 1000FÜSSLER, EMPREINTES DIGITALES, .. und vieles mehr aus der experimentellen, drone, post-industrial, Impro & Neue Musik & NowJazz-Szene... Deutsche Sprach, 88 Seiten, handliches Format, günstig & geistreich !

neue Artikel & einzigartig formulierte Rezensionen: SUBSTANTIA INNOMINATA, KARL RECORDS, SUB ROSA, LISA GERRARD, TUXEDOMOON, RUNE GRAMMOFON, BASKARU, ATTENUATION CIRCUIT, NON TOXIQUE LOST, und vieles mehr aus der experimentellen, drone, post-industrial, Impro & Neue Musik & NowJazz-Szene... Deutsche Sprach, 88 Seiten, handliches Format, günstig & geistreich !

neue Artikel & einzigartig formulierte Rezensionen: OPENING PERFORMANCE ORCHESTRA, STEVE RODEN, TZADIK/JOHN ZORN, ATTENUATION CIRCUIT, AUSGEWÄHLTE GERÄUSCHE, GRUENREKORDER, MONOTYPE, TOUCH, und vieles mehr aus der experimentellen, drone, post-industrial, Impro & Neue Musik & NowJazz-Szene... Deutsche Sprach, 88 Seiten, handliches Format, günstig & geistreich !

neue Artikel & einzigartig formulierte Rezensionen: LA STPO, AUF ABWEGEN, FROZEN LIGHT, KLAPPSTUHL, PSYCH KG , LENKA LENTE, ReR MEGACORP, ATTENUATION CIRCUIT, REMOTE VIEWERS, und vieles mehr aus der experimentellen, drone, post-industrial, Impro & Neue Musik & NowJazz-Szene... Deutsche Sprach, 88 Seiten, handliches Format, günstig & geistreich !

neue Artikel & einzigartig formulierte Rezensionen aus Würzburg: ARTROCK aus GRIECHENLAND, NADJA & B/B/S, ÄLTERWERDEN MIT MUSIK, ATTENUATION CIRCUIT, DOMIZIL, DRONE RECORDS, HELEN SCARSDALE AGENCY, KARLRECORDS, E MEGO, PSYCH.KG, und vieles mehr aus der experimentellen, drone, post-industrial, Impro & Neue Musik & NowJazz-Szene... das meiste auf deutsch, 88 Seiten, handliches Format, günstig & geistreich!

neue Artikel & einzigartig formulierte Rezensionen aus Würzburg: PLASTIC PEOPLE OF THE UNIVERSE, CUNEIFORM, FOVEA HEX, O YUKI CONJUGATE, KARL RECORDS, ATTENUATION CIRCUIT, PSYCH KG, JIM HAYNES, und vieles mehr aus der experimentellen, drone, post-industrial, Impro & Neue Musik & NowJazz-Szene... das meiste auf deutsch, 88 Seiten, handliches Format, günstig & geistreich!

neue Artikel & einzigartig formulierte Rezensionen aus Würzburg: LA STPO, Rumänien-Szene, Moers-Festival 2018, DISCREPANT, Drone Records / Transgredient / Substantia Innominata, TOUCH, Kallabris, Ideologic Organ, und vieles mehr aus der experimentellen, drone, post-industrial, Impro & Neue Musik & NowJazz-Szene... das meiste auf deutsch, 88 Seiten, handliches Format, günstig & geistreich!

die Jubiläumsausgabe, Nr. 1 erschien (damals noch mit Cassette) 1985. Herzlichen Glückwunsch! => Freakshow Artrock-Festival 2018, THE INSTANT VOODOO KIT, LOLLIPOPPE SHOPPE, DENIS FRAJERMAN & PSYCH KG., MYSTERY OF THE BULGARIAN VOICES, GEORGISCHE Szene, CRANIOCLAST, GRUENREKORDER, MIKROTON Rec., RUDOLF EB.ER, EMPREINTES DIGITALES, FIREWORK ED., etc.. 88 Seiten, handliches Format, günstig & geistreich!

KARLRECORDS special, CARSTEN VOLLMER, AFRIKA FESTIVAL Würzburg, MOERS festival 2019, DEAD CAN DANCE live in Frankfurt, KEIJI HAINO + SUMAC, ALFRED HARTHS REOLVER 23, REMOTE VIEWERS TRIO, CRONICA, MIDIRA RECORDS, SOFA, TIETCHENS + DE WAARD, EMPREINTES DIGITALES, SUB ROSA, THE DEONTIC MIRACLE, LENKA LENTE, etc.. - 88 Seiten, handliches Format, günstig & geistreich!

grosses NORWEGEN-SPECIAL, 90% WASSER, LA STPO, CRAMMED DISCS, GEOFF LEIGH, RARENOISE RECORDS, ATTENUATION CIRCUIT, KRATER REC., AUF ABWEGEN, CRONICA, GRUENREKORDER, HELEN SCARSDALE, SEREIN, INTERNATIONALES FESTIVAL FÜR EXPERIMENTELLE MUSIK MÜNCHEN, etc.. - 88 Seiten, handliches Format, günstig & geistreich!

Moers@arte concert 2020, AKSAK MABOUL, ZEITKRATZER, SCHWEDISCHE SZENE, TODAYS ??? FEMALE TOO, CRONICA, GRUENREKORDER, JOHN ZORN, NON TOXIQUE LOST, ZAREK / IGNAZ SCHICK, FANCYMUSIC (Moskau), JAAP BLONK, JOSEPH B.RAIMOND/DOC WÖR MIRRAN, etc.etc.. - 88 Seiten, handliches Format, günstig & geistreich!

CUNEIFORM, ReR MEGACORP, OPENING PERFORMANCE ORCHESTRA, Protestsongs, SLEAFORD MODS, BILLY NOMATES, ALFRED 23 HARTH, HEMATIC SUNSETS, CRONICA, RLW, GRUENREKORDER, LENKA LENTE, PALO ALTO, JULIUS EASTMAN, und so vieles mehr aus "Now Jazz", Impro, Avantgarde, Geräuschmusik und Drone... - 88 Seiten, handliches Format, günstig & geistreich!

I SHALL SING.. (Ukraine - releases and thoughts), Music Information Centre Lithuania, THE DEAD MAURIACS, ADN, CONSTELLATION, GLITTERBEAT, HUBRO, MOONJUNE, KARLRECORDS, KLANGGALERIE, TROST, ANT-ZEN, CRONICA, CYCLIC LAW, DRONE RECORDS, DARJA KAZIMIRA, NEUS-318 (KAZUYA ISHIGAMI), SUB ROSA, "Aladins Problems als Problem", etc. etc. - 88 Seiten full of artistic life, music, philosophy !!

LA GRAMMATICA DELLA RIVOLUZIONE - a trans-media project by ARLO BIGAZZI dedicated to the Russian poet MAYAKOWSKY, on the CD sphero-jazzy ambient musical arrangememts from BIGAZZI & FERRI are combined with Russian lyrics in the background, the impressive 72 pages book (8" size) comes in full colour with photographs by LUCIA BALDINI, information and quotes on Russian & Italian connected to the latin and cyrillic alphabets, a very ambitious project !!

two long new pieces, the title track is dedicated to DAVID ROBERT JONES (aka DAVID BOWIE), the pieces have been created with synths, tenor saxophone, tape loops and electronics => very rich & multi-layered, subharmonic ambient drones and waves full of ringing overtunes, surely among his best material! The limited vinyl version contains a special mix, only available on this format

five stunning eight channel pieces that are supposed to work like a Kaleidoscope (= the dynamic spatial activity through sound) by this British electro-acoustic composer from Birmingham => sonic particles are united, fragmented, alienated, disrupted,etc. in a continuous development and transformation, "the spatial language consists of peripheral, rotational, oppositional and envelopment activities and relationships"; comes with DVDr containing the original 8-channel version!

the Swedish project feat. PER AHLUND (DISKREPANT, SOPHIA) with a refined new album, their third one...- *an intense journey through the depths of the human experience. The album's lyrics paint a vivid picture of struggle and introspection. Each track is meticulously crafted to convey a sense of urgency and raw emotion, making this album a standout in Beckahesten's discography. "The wolf has woken up" – these words encapsulate the essence of the album, a stirring metaphor for awakening and transformation.* - CD version lim. 300 copies

the Swedish project feat. PER AHLUND with third album, black vinyl lim. 200 - *an intense journey through the depths of the human experience. The album's lyrics paint a vivid picture of struggle and introspection. Each track is meticulously crafted to convey a sense of urgency and raw emotion, making this album a standout in Beckahesten's discography. "The wolf has woken up" - these words encapsulate the essence of the album, a stirring metaphor for awakening and transformation.*

re-issue of the EPs "Meridian" from 1983 (which started as a recording project for THIS HEAT and feat. CHARLES BULLEN on the opening track), and their last recordings on "Greenfingers" (1987); "Comprising tracks that overlapped between This Heat and Camberwell Now, the EPs concerned themselves with information technology, surveillance, propaganda and what Hayward describes as 'day-to-day, hand-to-mouth survival' "... classy coverar & download code

transformations of architectural plans of Gothic cathedrals into music; edited from a live concert in a large church using the natural reverbation of the performance space..

promising ritual & transcension drone newcomer, various droning sound-layers (guitars, electronics, fields recordings) swirl in endless amorph formations and spirals... 66+ min. to discover, nice price!

finally another repress available of this multi collaboration / remix BASS COMMUNION release from 2003, feat. five compositions in different combinations, the second CD has one 74 long BASS COMMUNION / COLECLOUGH piece.. - \" Gurus of the meditative and sublime, crafting from seemingly thin air the most delicate and shattering of sounds. Every track has a heaviness or a weight that can feel paranoid or transcendental.\" [Brainwashed] - lim. 500 gatefold \'mini LP style\' digisleeve, oversized format

first album for the Greek artist CONJECTURE on Cyclic Law, inspired by the psychological disorder ANTICIPATORY NOSTALGIA: a feeling of longing for something that has yet to occur or may not exist at all - *... transposed into icy noises driven by crashing drones and heavy, electronic sound blasts. We get 4 extended cuts which have been slowly built up sometimes resulting in a true Cinematic format* [Side Line] - 300 copies digipak

a Polish soundtrack to STANISLAW LEM's novel "His Master's Voice' from 1968, a philosophical story about the first contact with extraterrestrials and the effort to decode their messages... this unusual collaboration by the ritual dark ambient project CONTEMPLATRON with harsh noise act SHENTZ relates to the ability to decipher structured information out of the chaos of the universe; the 51+ min. noise & ambientscape develops from abrasiveness into something more sophistacted, and back to chaos..

re-issue of the nightshade-like LP from 1986, for the first time in it's original pic-LP format, performers were: DAVID TIBET, DIANA ROGERSON, HÖH; JOHN BALANCE, ROSE McDOWALL and others, thematically focused on the menstruation / moon cycle..- "Die Soundkollagen als eine Art Archiv geträumter (und gestorbener) Träume zu sehen, ist eine durchaus naheliegende Assoziation, die Tibets Ideen zu dem Album entspricht.." - comes with signed postcard

DEATHPROD aka HELGE STEN (also a member of early MOTORPSYCHO and nowadays SUPERSILENT) with a new album after 15 years => most abstract and amorph, eerie dronescapes and fog horns that ebb and wave in siren-like formations, an intense trip into the naught and mysterious powers, understood as a sound ritual against hate and fear... \"it could be viewed as an amulet to ward off hate and bad energy..\" [Resident Advisor] - comes with inlay on black vinyl

DEATHPROD aka HELGE STEN (also a member of early MOTORPSYCHO and nowadays SUPERSILENT) with a new album after 15 years => most abstract and amorph, eerie dronescapes and fog horns that ebb and wave in siren-like formations, an intense trip into the naught and mysterious powers, understood as a sound ritual against hate and fear... "it could be viewed as an amulet to ward off hate and bad energy.." [Resident Advisor] - 6 panel digipack CD

The film to the CD soundtrack-release of the same name from 2004, based on KAFKAs "In the Penal Colony". Etched DVD-digipack, region free NTSC format.

long playing 3 track EP by Italy's Cristiano DEISON - filed under "awesome crystalline drones", based on prepared tapes, metals, strings, wires and electronics... Sounds of elementary transformations, metamorphosis, and overcoming the usual sense of time; lim. 300 copies on transparent green vinyl

inspired by LUCRETIUS philosophy on atoms and MICHEL SERRES, this is a very special work on a special format, an unplayable / object 12" vinyl plus booklet with paintings, the music is available as download: 4 tracks with exquisite field recordings (Palermo) and instrumental sounds and samples by GABRIELE MITELLI and others; numbered edition of 111 copies

"Bullshit Composition By The Drunk And Disorderly" // "I'm sick, suffering from Hysteria" - with titles like this you can imagine where this journey might take you.. jerking and bubbling eruptions over noise drones in endless morphing formations, for the restless mind, not completely harsh, but insistent.. lim. 20 comes with handpainted inlay, numbered, in DVD sized box

collaboration album spread on two 10" vinyls (the OKRAINA label from Brussels only releases on this format!) by the French singer/songwriter with the special introspective "ambient / experimental" mood, and bell-like voice, with guitarist MOCKE... "Created like an exquisite corpse story they sent each other music to work on with no instructions or suggestions.." - comes with two inlays

original soundtrack for a dance choreography performedy by GRUPPO NANOU, composed by the versatile Italian multi-instrumentalist BRUNO DORELLA (member of SIGILLUM S, noise-rock band OVO, and many other projects..) >= 13 electronic tracks inspired by DANTE ALIGHIERI Comedies, extremely suspenseful, slowly pulsative, atmospheric & \"breathing\" formations of \'audio scenes\', but also more song-oriented material w. guitars and female vocals.. excellent! 13 tracks 62 min

digipack / ed. of 600 copies / mind-blowing otherworldy acoustic spheres based on voice-transformations & electronics, Volume 3 in the "Passades" series

ROGER DOYLE from Ireland was one of those 'outsider artists' being on the legendary NURSE WITH WOUND list in 1978, and this album appeared in the same year but was withdrawn by 'CBS Classics' almost immediately after the release..." Now finally available on its intended format, the keening, breezy logic and abstract dramaturgy of Doyle’s work on ‘Thalia’ has been reshuffled to highlight its apparent surreality and frolicking apparitions.." - FIRST TIME VINYL RE-ISSUE !!

a "radio opera" that was created in 1998 with the help of THANASIS CHONDROS and ALEXANDRA KATSIANI - pretty unique in its peculiarity, very silent / soft parts interchange with extreme ones, lots of spoken word material, but also found stuff from other music, object sounds, psychodramatic formations, very special stuff comparable to dramatic 'earplay' compositions from L. MARCHETTI i.e. a real audio JOURNEY with tons of surprising moments and beautiful moods.. incl. 48 page book Greek/English

great release from the now in-active Drone Rec artist from UK, recorded in Berlin at Podewil in 2000; lim. 100 in very special long format plastic-case. Last copies, definitely no reprint !!

the definitive excavation of BRYN JONES' formative pre-MUSLIMGAUZE years, a comprehensive 7LP/7CD box set that collects every recording from the pre-Muslimgauze era: 7 LPs, 1 x 7", 2 booklets, mini poster, cert. card, slipmate + T-Shirt !! - 400 copies BLACK vinyl - the last ever release on VOD it seems !!

just in time for the VOD festival in Friedrichshafen in July 2025, this box with all material ever released by BRYN JONES' formative pre-MUSLIMGAUZE project was released, a comprehensive 7 CD box set w. luxus deisgn plus T-Shirt, slipmat, and booklets included !! The last ever release on VOD ! (?)

"do you dream of unexplored places where you and I are the first to tread?" - debut CD (after some CD-Rs) of new cosmic ambience project from UK, feat. a one-tracker 45 min build on minimal synth-drones that delevop into otherworldy areas...very soft, dark & secretful... comes with nice full-colour booklet (28 pages, A5 format) with intimate / poetic / philosophic texts & photos... to discover

finally in stock, the latest album by the occult droner from Colombia => like HALO MANASH or PHURPA, the music is born out of authentic rituals connecting with other "spheres", but these sounds are completely based on scratchy, homemade analogue instruments, that drone, rumble and bubble in various organic transformations, always dark but glowing and urging.... comes in oversized gatefold cover with 5 full colour postcards, numb. ed. 493 copies

live recording made in May 2014 - celebrating the lust for powerful noise with infernal, siren-like attacks; music with no beginning, ending or structures, white noise patterns in eternal transformation.... C-45 prof. tape & cover, on the new established following label of CTHULHU Records (who once released the first ENTRE VIFS tape)

this album contains both, single and collaboration tracks, by M.V. and ENVENOMIST, the dark noise project of DAVID REED, who was also very active as LUASA REALON once... - \'Liminal Presence\' forms a whole electronic, very doomy psychedelic dark ambient voyage in 10 movements .. - \"a 70 minute journey into interstellar light drifts and sleep transformations. Floating and mystical ambient and underlying dark nightmares..\" - 300 copies

limited vinyl version (600 copies on black vinyl) of stunning album by the Spanish "rhythmic industrial" pioneers who label themselves nowadays as "powerful, primitive and hypnotic" - six stunning new tracks, two of them exclusive to this format !

limited CD version of this album by the Spanish "rhythmic industrial" pioneers with their unique version of "powerful, primitive and hypnotic" electronics - nine tracks, some of them exclusive to this format

using the sounds of larvae during their transformation into flies as well as instrumental recordings (voice, piano, zither, bells) and environmental sounds (i.e. an Easter procession in a small village in Italy), this female project from Berlin interprets the concept of "metamorphosis" on different levels... lim. 300, nice gatefold cover

fascinating recordings (very close) from vulcanic eruptions in Iceland, unfolding like exploding bubbles or broken glass...- *These recordings, captured at close range, exist at a nexus where liquid rock becomes solid. They capture moments of transformation, of obliteration and of creation, often all at once..* .- Australian born BEN FROST is known as prolific film composer (for example for "Dark" / Netflix) and lives in Iceland.. BLACK vinyl ed. + DL card

Russian ambient collaboration inspired by the beauty of dust storms, dreamy & hazy transformative drones based mainly on guitar & analogue electronics

FILIVS MACROCOSM is the solo-project of Sergey Svistelnik aka Lord Gorgoroth from Ukraine, who is also a member of IN MEDITARIUM (known to all Droneheads through our Drone 7" release we hope!). This is a poetic & dreamy transformation of Tarkovsky masterpiece STALKER, using many original sounds from the film as a basis, effecting and processing the sounds and also dissolving them into noisy parts at times.... - oversized 3-panel cardboard-cover, ed. of 500. Dedicated to Tarkovskys film

"LET US BLAST OUT OUR OLD FORMS, OUR IGNORANCE, OUR WEAKNESS AND OUR MORTALITY" - the always ambitious North German 'ambient industrial" project with a tryptich of three dark immersive albums on three different formats, released for the 20th year of existence, dealing "with the definition and meaning of being human".. ; lim. 350 copies in box with inlay, logo patch, DL code

MATHIAS GRASSOW is one of Germany's deep ambient pioneers, his first releases date back to 1986; this favoured 4 track album was privately issued in 1998 as CDR and is finally released in proper form... extremely minimal and only slowly changing synth-drones with hypnotizing overtune and bass waves....- when music turns into an "agent of transformation"

first solo-album by this Danish soundartist also known with WÄLDCHENGARTEN (see DR-81, 2006), operating between 'underground drone' and the more academic/serious composed sound-art; the album contains 21 (!) tracks that follow the concept of incorporating 'atmospheric ambient' into a classic pop/rock format, so all tracks are very short and hold melodic scales and a kind of architectural composition, with amazing result; created at EMS in Stockholm, lim. 300 blue vinyl

the last release of HIS DIVINE GRACE and the first of their continuation project DE GRACE, adding "post black metal" influences to their slow esoteric ambience sound... dark synths and lonely guitar tunes, crackling noises and whispered vocals, very bleak... the perfect "transformation" from one project to another.. lim. 315 copies

one of the ETANT DONNES brothers in collab with Z\'EV, forming an almost perfect amalgamation of what both artists are known for, and it really works in an enchanting way - the emotional voice & whispers of French poems about love, nature & transformation, the passion, the alchemistic metallic overtune-drones and drumming... surreal, intense, fathomless.. fold out paper cover, contains CD and 36 page full colour booklet

the return of Belgiums long standing Ritual / Tribal / Electro industrial project, all new material (21 tracks!) - hypnotic beats merge with voice samples and instrumental (percussion) sounds, magine a more 'orientalistic' sounding version of ESPLENDOR GEOMETRICO or more electronic, early DEAD CAN DANCE even, with female vocals, synths and complex arrangement, between "deranged" explorations and almost song-like, soundtrackish "PoP" formats...

incredible collector's item => a small USB stick inside a handmade woodbox from India with beautiful carved ornaments, the box contains ashes and other remains from a traditional burning; the music: a 4 hours 44 minutes long true "DEATH DRONE" piece with transformed recordings from the burning ghats in Varanasi, at Ganges, INDIA .. - "to experience non-dual awareness in the presence of the radical transformation that is death" - very limited edition, only few copies in stock !!

first time release of a rediscovered ICHIYANAGI piece from 1974 , originally named \\\\\\\'Synthesized Piano Space\\\\\\\' - single sounds from a prepared piano undergo a transformation process, sounding like nothing else afterwards... _ the booklet has 24 pages and contains drawing by famous MANGA artist YOJI KURI, plus liner notes... JAPAN IMPORT

"Is this lathe a mysterious disc?" TWO versions of "A Mysterious Disc" are existing with absolute the same cover & catalogue number, but different material. No information available. This is version 1

"Or is this lathe a mysterious disc?"'Two versions of "A Mysterious Disc" are existing with absolute the same cover & catalogue number, but different material. No information available. This is version 2

A mysterious disc! no information on cover or by the label

great return of this French "ethno electronic / ambient" project, the very long piece (55+ min.) goes through various stages and combines poly-harmonics, electronic noises and poly-rhythmic elements in a skillful way, a meeting of oriental ambience and post industrial, there's a continuous stream and spiral transformation going on, harmonies appear and disappear, pulses and tribal rhythms and droning structures seem to ebb and flow.. highly recommended !! - 100 copies, colour cardboard cover

the Australian dark 'ambient industrial' project, known for three albums on TESCO (between 2005 - 2016), is back with this 8 track CD on Greeks ZAZEN SOUNDS... - *Proclamation' is a study in overcoming and transformation through colonialism and conquest; through sacrifice and trial; through blood and scorching soil..* - very lim. digipack edition, official video teaser: youtu.be/IYKKvfOboeM

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 !

archaic ritual music performed for the film "Rue de la Lune" from JUANA ROBLES, roaring transformative improvisations, female voices in all kinds of imaginable expressions merge with strong percussive elements....these are ecstatic, explusive rituals for healing the deeper core of the soul..- This is an album that will transport you to another time and place, as it soothes and disturbs in equal measure. Incredible. " [This is Darkness] - lim. 100 copies only !!

curious collector's item which uses a "never seen before" format (ca. 300 gr. vinyl!): a picture 12" sticked on an old (German Schlager or whatever) LP, the old LP cover is combined with a cut-out cover, the pic-LP is fully playable on one side & has a loop from the recycled LP on Side B!! Understandable? No? doesn't matter!! => The fierce & furious noise attacks come from the solo project of "Junge" (the EA80 singer) and endless noise worker CARSTEN VOLLMER; lim. 100

a 3 min. piece by the EA 80-singer project, released on a most obscure format (a 5" flexi in the shape of a postcard, one side full colour); this appeared in conjunction with an exhibition at Spedition Bremen, October 2013; lim. 250 copies

rare cassette-only album by this US project (and permanent insiders tip), relating to the celestial body of the stars; deep bass drones and weighty reverberations appear in fragmented formations... lim. 100, C-65

the result of a 3-year collaboration of the P16.D4 legend RLW with Swiss musician THOMAS KORBER: almost undescribable challenging, complex aural landscapes based on real time interactions / improvisations and additional compositional executions & transformations ; lim. 300 printed anti-static bag

"Town-Countryside-River" is work about the sounds of the city, the permanent transformation, construction noises and increasing interconnection of all of its parts: which social dimensions open up? how does the town sound, how could it sound? who has the right to shape it? This radio play was created on the basis of a musictheatre piece of the same name, and uses electro magnetic sounds of CHRSTINA KUBISCH and others, along with quotes / texts about these topics... - oversized package and 16 p. booklet

SoundArt: Strange whispering concrete sounds, as a result of LABELLE’s ideas of 'Social Music'... recordings from various installations & physical interactions of visitors happening there, with lots of basic information & pictures in the booklet...

extreme and intense symphonic work + narration based on the novel of the same name, performed with help of different orchestras and ensembles, full of droning tension and emotional outbursts, neo-classic drama, folkloristic brilliance.. - * The central character is Hassan-i Sabbah, the charismatic religious and political leader of the Nizari Ismailis and the founder of a mysterious military formation known as the Assassins, whose name is still feared and respected today.* Masterpiece!

intense symphonic work + narration based on the novel of the same name, performed with help of different orchestras and ensembles, full of droning tension and emotional outbursts, neo-classic drama, folkloristic brilliance.. - * The central character is Hassan-i Sabbah, the charismatic religious and political leader of the Nizari Ismailis and the founder of a mysterious military formation known as the Assassins, whose name is still feared and respected today.* - CD version in box with 36p. booklet

powerful (quasi-)rhythmic electronic industrial filled with weird sounds, voices, changes & transformations, noises.. a complex and innovative sounding album by the French bruitists, intelligently designed... lim. 200 RED vinyl, great silver print cover ! FEW LAST COPIES IN STOCK

"Coronation Street" - the COVID-19 studio album of the Dots, written in 2020 + 2021 connected through cyberspace during the lockdown; 12 new tracks, 4-panel Digipak w. 16-page booklet incl. credits, lyrics, and release information - "As a result, the lyrics are utterly poignant, desperate, yet sometimes bearing a flash of gallows humor. The soundtrack is a purging fire. It's a fire that still burns..." [Edward Ka-Spel]

THE TRANSCENDENTAL MUSIC FOR THE TRANSCENDENTAL FILM - "Soundtrack to Paul Schrader's 2017 film 'First Reformed', starring Ethan Hawke, Amanda Seyfried and Cedric Kyles. The release features extended versions of the score formatted as a standalone album. The double vinyl edition includes an extra track "Venice" which was featured at the Venice Film Festival red carpet event." - gatefold cover, black vinyl

"It is sound, navigation and prior to translation. Here is abroad." - ESSAY for TROUM TRANSFORMATION TAPES double CD, July 2018

re-issue of rare casettte from 1989 - *Masonna at one of his most pivotal moments, offering two tracks that span roughly 20 minutes each. This format, with one piece per side, creates a compelling dynamic, allowing the listener to fully immerse themselves in the sprawling auditory landscapes that Masonna weaves..* - lim. 199 copies only

First promising self-released mCDR from this experimental US-project, creating dense droney soundscapes with trance-pulsating structures originating from different acoustic sources. Two tracks. “The pieces on this release are constructed from source material culled from entirely acoustic sources. Track one deals with the Alchemical process, the stages of transformation represented in audio form. Track two is based on sounds collected via Electronic Voice Phenomena. An attempt at evoking that numinous realm.” [Brian Kindley]

startling release on "hybrid" format which has a playable vinyl side on 5" (33 rpm), and a full playing CD side!! And the sounds are very unusual and experimental for MERZBOW, improvised object noises in muliple layers and configurations, no typical harsh noise at all, great one !!! Comes in die cut gatefold sleeve, lim. 500

mesmerizing soundwork produced by Finnish YLEISRADIO based on LUCRETIUS ancient poem 'De Rerum Natura', in which he already recognized the principles of atomism (the smallest elements are eternal, but create new forms all the time) - this permanent transformation of matter inspired MERZOUGA using nature field recordings and an 'evolutionary' prospect, translating the six chapters of the poem into "Books of Sound".. comes with extensive booklet and liner notes with the complete poem in latin and english

loopy, piercing digital noise structures that build powerful pulsing and almost rhythmic formations, first (?) release for this German project with roots in the experimental techno scene of the 90's, a highly interesting EP by a new label from Würzburg, Germany; lim. 50 copies - hand assembled CD case cover

a very special release is this first one from a new project of MARC RICHTER / BLACK TO COMM => a one-sided pic-12" (one side black and playable, other side picture, unplayable) = a "hybryd" format we haven't seen before, with strong 'constructed' music, different from BTC... "Influences are ranging from (French) classical and opera to the anecdotical compositions of Luc Ferrari, Chinese opera, sacred music, collage, and free improvisation" ; ed. of 165 copies only

absolutey awesome collaboration recordings by these two masters of experimental sound-transformation (drums, guitar, electronics), subtle & mysterious spatial drones, slowly developing... ; recorded summer 2011, comes with luxus-cover (gatefold), numbered ed. 500 copies. Highly recommended!!

long awaited new album by the legendary Bulgarian choir "La Mystere de Voix Bulgares", collaborating with LISA GERRARD on 4 pieces; "Once described as 'the marriage of the avant-garde and the Middle Ages', the magic of the ensemble stems from its success in mastering Bulgaria’s diverse, age-old vocal traditions while simultaneously sounding strikingly modern and original, thanks to the unique choral music structure"; lim. art BOX edition: LP, CD, SACD, bonus live CD and huge book!! Ask for other formats

deluxe re-issue of the 1981 album (the first N.E. LP on their own STERILE Rec.), now + full bonus CD with so far unreleased material (50 min.) !! - *It shows their Industrial roots with sounds between noise and electronic dada, similar to early Cabaret Voltaire or Throbbing Gristle.... Sterile Records used both commercial and non-commercial media to deliver anti-capitalist messages, multi-coloured noise and information overload.*

newest issue of this Australian noise, experimental drone & dark ambient industrial mag! Interviews / Articles: INADE, ANEMONE TUBE HUMAN LARVAE, TOWER TRANSMISSION FESTIVAL Dresden w. GENOCIDE ORGAN, etc.. tons of reviews... A5 format, 100 pages, print edition 500 copies

the compact (book) format zine from Australia for noise and post industrial tunes, interviews, reviews, articles; 98 pages, A5, prof. printed and perfectly bound: CONTRASTATE, MURDEROUS VISION / LIVE BAIT REC, MARTH BLADH, LINEKRAFT, NIL BY MOUTH, DIE KOMBINATION, 60 in depth reviews, adverts, annoucements.. 600 copies pressed

the compact (book) format zine from Australia for noise and post industrial tunes, interviews, reviews, articles; 98 pages, A5, prof. printed and perfectly bound: GEOGRAPHY OF HELL, DODSMASKIN, INFINEXHUMA, RAISON D'ETRE, BROWNING MUMMERY, 60 in depth reviews, adverts, annoucements.. 600 copies printed

the Australian industrial mag: AFRICAN IMPERIAL WIZARD, LETUM, ULVTHARM (MZ.412), JAMES LIGHT, CULT OF YOUTH, LINEKRAFT live + interview, CLUTCH live, 40 + reviews, about 100 pages oversized A5+ format, perfect bound 'glue bound spine' + prof. printed, print run: 600 copies

one of the few Noise/Experimental mags still in paper print, "documentation of the post industrial underground": long-form interviews with BJ NILSEN, TEHOM, INNERE FRONT, NO GUARD, TONE GENERATOR & THE BODY WITHOUT ORGANS, NWN!/HOSPITAL-festival Osaka, 50 details reviews, ads, infos, etc. - about 100 pages oversized A5+ format, full colour glossy cover, perfect bound 'glue bound spine', print run: 600 copies

the new issue feat.: WILT (incl. 10 pages of original art inside the mag), 10 YEARS OF CLOISTER REC-Festival report, THE BLACK MAGHREB; BORN ERASED, OLD TOWER; XN Recordings, Essay: Trading in the Currency of Culture: a post-industrial underground perspective, more than 50 reviews (incl. Drone Records)... - about 110 pages, almost A4 format, colour cover, print run 600 copies

60 pages A4-format, great theoretical articles on sound & noise, artists & reviews. includes: Duncan Marshalls, Kinds of Magic, Sounds Like Someones Enjoing Themselves, interactive sound installation, Philip Waterworth talks about his work which covers voyerism, eavesdropping, paranoia, surveillance and noise pollution, NGs Whispering gallery tour London-Paris-Rome-Sicily, & Second thoughts on the bassoon by Mick Beck. Article about TOD DOCKSTADER.

60 pages A4-format, great theoretical articles on sound & noise, artists & reviews: "Analog is the new digital", Tinnitus, SCRATCH ORCHESTRA - history, on LUC FERRARI, Sound and the Cinema, spot on DRONE RECORDS, mother womb-acoustics, etc.. great issue, not to be missed !!!

60 pages A4-format, great theoretical articles on sound & noise, artists & reviews: Low Classical Usic, Sound Sculpture & Electronic Music, Obscene Telephone Calls, Culture of Silence, SCRATCH ORCHESTRA - cont., Auditory Hallucinations, Stockhausen and Formel Komposition, etc..

60 pages A4-format, great theoretical articles on sound & noise, artists & reviews: Notes on Noise (J. ATTALI, etc.), Music of the Spheres, Impossible Music, etc etc..

60 pages A4-format, great theoretical articles on sound & noise, artists & reviews: Electronic Music: The unstable waveform, Big Bang and Beyond, MAX NEUHAUS, DAVID TOOP, Kuess-Pruefung-Installation, How to demolish cars with a hammer head, etc..

60 pages A4-format, great theoretical articles on sound & noise, artists & reviews: "Sound Fetish Tendecies", Vanishing Point-Installation, Sound in relation to image, Acoustic Surgery, Field recordings made from Telephone Boxes, full-colour art-poster, etc.

60 pages A4-format, great theoretical articles on sound & noise, artists & reviews: About found Sound Objects, Sound Dreams, Bicycle Clip Sex, The Sound of Steam, A brief overview of Sound Poetry, The Passing of Tape, Playing John Cage, etc..

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..

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..

acclaimed Italian "experimental" composers ENRICO CONIGLIO and MATTEO UTTERI formed this open "ethereal / melancholic / deep electronic Pop" project, with many guest musicians (for example LAU NAU on the first phantastic track) on vocals, bass, trumpet, cello, spoken word poetry, etc., creating a most intimate "experimental song" format, sometimes reminding on old 4AD Records... - comes with full colour 8 page booklet w. lyrics

the third O.C. release comes as limited. CD (100 copies only) with two long tracks as "interpretations" of the "Seven Sacraments", using real organ sounds and (vocal) samples... => loopy synthetic ambient that goes through various stages and formations, often with an impressionistic, nostalgic touch; the music is ever transforming and floats from one scenery to the next, with some surprising moments..

new LP series with philosophical approach, the two artists per side act completely independent and don't know the work on the other side: DANIELE PECORELLI aks what happens to the consciousness and our memory when we die - MARK SCHAUB (aka MAATH) reflects upon chemical transformations and the audible; both Italian artists create delicate electronic ambience pieces with strange animal (?) field recordings and waving organ synths... to discover! lim. 100 copies only

magazine for "noise, music and the cosmic soup" published by LASSE MARHAUG, 100 pages A4 format: "meeting Sun Ra, starting to play the sax at 28, The Nihilist Spasm Band, UFO sightings, changing guitar strings in 23 seconds, how play glass on your face, playing drums on a trampoline, painting skulls, noise bombing in Indonesia, salt, broken radios, etc.+ interviews with PBK, MARCIA BASSETT, JOE McPHEE, SODADOSA (Indonesia), SKASET.. full colour!

LASSE MARHAUGs beloved magazine (almost a book) for "noise, music and the cosmic soup" with a new issue: GHEDALIA TAZARTES, JANA WINDEREN, PETER BRÖTZMANN, PETER REHBERG, OTOMO YOSHIHIDE, GX JUPITTER-LARSEN, RACHEL SHEARER, BENJAMIN NELSON - all with extensive interviews incl. many unseen photos, cover pics, posters, etc.. - A4 format, 100 pages, full colour

this legendary FREE JAZZ NOISE album was recorded in May 1968 at LILA EULE in Bremen (the club still exists today), an 8 piece ensemble (feat. BRÖTZMANN, SVEN-AKE JOHANSSON, EVAN PARKER) producing wildest sound and noise formations, a reaction to the Vietnam war? - *Die Musik, die das Peter Brötzmann Octet spielte, arbeitete vehement gegen das Bestehende an. Noch heute klingt sie verstörend radikal, auch wenn sie nicht ohne Filigranität ist und durchaus Humor offenbart* [Andreas Schnell]

two pieces of "Ritual Protest Music" that deal with the human made destruction on this planet, the sixth mass extinction that is currently going on: "Things falling apart" is an apocalyptic collage in the overwhelming DP style expressing the despair, whereas "Radical Hope" offers ways of resistance and overcoming the tragedy... - comes with 4 oversized sheets (8 pages) of newspaper-styled information, including a lengthy text by Prof. JEM BENDELL, lim. 300

this album presents a collaboration of AKIRA RABELAIS with HAROLD BUDD, both known for their most sublime piano works: four solo piano pieces by BUDD on CD 1, a remix of the whole on CD 2 by RABELAIS => "Non-repetitive repetition that so deeply submerges the listener, it takes a while for the rather radical transformations occurring to be recognized." [Igloo Mag] www.youtube.com/watch?v=3-I0MMRVSMQ

three more compositions in the series of collaboration pieces, here performed by the three string players DEBORAH WALKER, SILVIA TAROZZI and JULIA ECKHARDT, these drones arise from a very special creative concept (almost no written notes, using water-based forms, etc..) and were recorded at a monastery in the mountains of Italy; comes in special package with 32 p. booklet - "This is music that resists remembering.... only an indelible atmosphere of sonic transformation."

collection of the rare & beautiful Vol.2 - tracks taken from compilations, small or limited formats & live materials: CD 1: 2000-2003, CD 2: Live at Klanggalerie in Vienna May 2000 (released as lim. MC before); nice double digipack

collection of the rare & beautiful Vol.3 - tracks taken from compilations, small or limited formats & live materials: CD 1: 2003-2004, with the tracks from the ultra rare "Monomyth" CD-R, CD 2: Live at Rhiz in Vienna October 2004 (unreleased so far); nice digipack, lim. 500

collection of the rare & beautiful Vol.4 - tracks taken from compilations, small or limited formats & live materials: CD 1: 2003-2004, with the tracks from the ultra rare "Monomyth" CD-R, CD 2: Live at Rhiz in Vienna October 2004 (unreleased so far); nice digipack, lim. 500

collection of the rare & beautiful Vol.5 - tracks taken from compilations, small or limited formats, remixes, rare bonus tracks or live material: 17 tracks from the period 2008-2011, incl. collabs with CISFINITUM, VAZHES and MARK SPYBEY, a remix for J. ROEDELIUS, etc. etc. - nice double digipack, lim. 500

collection of rare material Vol.6, covering the period 2013 to 2016 => tracks taken from compilations, small or limited formats, remixes, rare bonus tracks or live material: the biggest part here comes from the great "Moon and Cups" 7inch series (four EPs released 2013-2016 and belong to the best newer RAPOON material we know!); the second CD holds a live recording made at "Gorlice Ambient Festival" in 2013; 15 pieces in total, lim. 500, double digipak

Schon fast sowas wie ein geräuschmusikalisches Hörspiel über Schizophrenie, ein einziger verstörender Psychotrip! Interview-Stücke mit Psychiatrie-Patienten (von 1973) werden verwebt mit Bombardements von akustischen "Alltagswelt"-Informationen, TV, Film & Radiofetzen & Musikphrasen, vokales Material, und elektronischen Sounds, alles heftigst effektiert und übereinandergelegt zu einer überwältigenden Schizophonie, die das Wesen dieser Krankheit spürbar & erfahrbar macht! - schizophonic collage based on recordings made 1973 in psychiatric hospitala, plus lots of found sounds.. - lim. 300 copies jewel-case

massive *Maelstrom Electronica*, fast shapings of synthetic formations and twisted sounds, 2nd album of female Malaysian artist Y'NG-YIN SIEW - * three immersive movements of avant-electronics full of unexpected tonal contrasts and shifts in intensity. Powered by modular synthesis, concrete assemblage technique and a pervasive desire to work with the full spectrum of sound, Tokokawa is the product of its two producers’ commitment to a dynamic, ever-renewing sense of aesthetics.* - 300 copies OBI digipak

debut album for this ambient newcomer from U.K., this release is part of a larger project named SONIC EARTH, dedicated to "the potential of geological languages as vessels of sonic mystery", which included also archival and installation work - on this CD many recordings of rocks and rock formations have been used... - "Charles Richard is a Royal College of Art Alumni exploring multidisiplary theams" - CD digipack with 8pp booklet

curious installation of pure sounds from a wood-scratcher machine that cuts tree-trunks into 2,5 cm thick "discs", while being amplified with 4 pick-ups and send to four loudspeakers; so that he machine is 'playing' the acoustic wood-information. astonishing work by this Austrian sound-artist who is known as a collaborator of BERNHARD LANG and PETER ABLINGER; the picture disc has an image of a wood piece on it: a most curious record, very limited

CLAUDIO ROCCHETTI (von 3/4HADBEENELIMINATED) benutzt auf dieser LP sein MC- & Vinyl-Archiv als eine Art Gedächtnisspeicher in Verbindung zur Welt; die hier gespeicherten Informationen sind auf vielfältige Weise verbunden mit den Vorbesitzern & ihrer Aura... kaum fassbar und doch nicht chaotisch, mit viel Raum für Pausen und Rauschen, Knirschen, Crackles... eine besondere Scheibe, die mit mehrmaligem Hören an Schönheit gewinnt!

Sound? Geräusch? Klang? Nein, Energie umgewandelt in Klang! Transformationsmusik, eigentlich Genre-frei. Ein einziges Wummern, Strahlen, Zerreiben von akustischen Informationen. Leider das letzte Projekt von HELMUT SCHÄFER, der im April 2007 verstarb... - recordings from live-shows in Graz & Bratislava 2006

the beginnings of SEETYCA were very daring and (using granular synthesis) electronic, "seetyca 3" contains probably the most experimental material we know, a maxi-CD (4 min) with two short tracks, plus a 74 min (!) hidden track => pure sinus / electronic tone sounds and formations, processed and morphed endlessly, creating incredible strange sound figures when they collide..... comes on a handmade laminated & labeled CDR

the very first SHRINE release from 2006 was a "file-only" net release and consisted of three long tracks; the Bulgarian label AMEK (home of MYTRIP) has now re-issued this timeless, beautiful rustling ambient album (that evolves into more powerful and harsher territories) for the first time on physical format: a cassette with prof. cover & duplication, only 66 copies made, C-40

60 pages A4 format on industrial, power electronics & noise, from Finland: ARS SONITUS / ARTUR R. SZTUKALSKI, NORTH CENTRAL, OMINOUS RECORDINGS, essay from RAFAL KOCHAN (Impulsy Stetoskopu) on "TRANSFUTURISM - THE END OR THE BEGINNING OF ART AND HUMANITY?", COMMANDO 15. Noise Collages with AMEK-MAJ, APRAPAT, OMM and GOVERNMENT ALPHA, PREMATURE EJACULATION, and other interesting discussions... (recycling, mass media, etc.)

contains "rare live moments of the bands, energetic performances covering music from “Leichenschrei” to “Information Overload”, Live rehearsal footage from “ Auto Dafe”, slide shows, documentary and a filmed interview with Tone Generator aka Domink Guerin founding member and man behind Twin Vision". DVD Box, great material, a real document of early Industrial culture!

the Australian field recording artist presents already his third work in this series of location recordings and transformations => various audio captures of his hometown HOBART, mediated through different devices, microphones, speakers & techniques, form these 5 subtle, organic, mysterious environmentals, very unique!!. - "These recordings exploit this tension between what we know of a place and what we imagine. Every time we listen, a displacement of time occurs again and again." - lim. 170 copies

one hour session recorded in the legendary JOHN PEEL studios for a MARY ANNE HOBBS radioshow, October 2019: advanced versions of "Pyroclasts" and "Troubled Air", feat. ANNA VON HAUSSWOLFF on synths / voice... - "The radiation embraces collaboration and freedom of interpretation by each player, within a structural format of the massive monuments of sound and distortion which define SUNN O))).." - massive gatefold sleeve with OBI, printed innersleeves, BLACK vinyl ed

one hour session recorded in the legendary JOHN PEEL studios for a MARY ANNE HOBBS radioshow, October 2019: advanced versions of "Pyroclasts" and "Troubled Air", feat. ANNA VON HAUSSWOLFF on synths / voice... - "The radiation embraces collaboration and freedom of interpretation by each player, within a structural format of the massive monuments of sound and distortion which define SUNN O))).." - CD version comes with 8 page foldout sheet & OBI

a 16 mm black and white document filmed at a concert in Oslo, 16. August 2004; shows SUPERSILENT as a 4 piece in brilliant form, extremely dense and at times overwhelming developments from ambience to noise to uncategorized transformations of jazz... six movements with a full time of 108+ minutes, excellent sound quality! (PAL version, all regions) BACK IN STOCK and still to discover !

OBEX means: "Object Activity Exchange Transformation" - and this title gives you the direction this goes, various field recordings from all kinds of natural and un-natural objects have been gathered and effect-processed, forming a kind of concrete drone ambience, what could be stones, sand, fire, metal objects, soil, but often you don't know esxactly..wonderfully complex and verstatile. => Zwei Meister der Feldaufnahmen-Geräuschkunst sorgen vereint für ungeahnte Komplexität ! lim. 100

re-issue of the second cassette release from 2015, with the two rare bonus tracks from the box edition: "this album is based on a more analog-organic approach than an analog-digital-synthetic. The four echoing Hymns of Otherness are here to awake the ghosts dwelling within; join the Stagnant Dance and meet the Carcass of Formations - the shrieks are heard from beyond." lim. 300, excellent silk-screen cardboard design & inlays

first full length release for a project from Vilnius, Lithuania (also active as SKOL and VELEMARA) => a cosmic drone-minimalism ambience expanse of 38+ minutes, very meditative and richly tuned.. *dedicated to the vast cosmos, to its transformations, to the birth and death of a star...a journey that completely wipes out a sense of time.* - numbered ed. of 50 copies

early, rare or so far unreleased material 1982-1985, for example the very first cassette "Strength of Metal in Motion" (1983), unreleased JOHN PEEL sessions, Berlin Atonal and Hamburg Markthalle recordings (1985) = all in all 42 tracks, of which 26 are new to the CD format, and 12 are previously unreleased! Comes in 5 panel ecopak + 24 page booklet

"Solange ich kein Blut weine bin ich völlig unbesorgt" - a 2 min. piece by the ANSGAR WILKEN project, released on a most obscure format (a 5" flexi in the shape of a postcard, one side full colour); this appeared in conjunction with an exhibition at Spedition Bremen, May 2014 ; lim. 100 copies

the great CD box back in stock, contains all lifetime THIS HEAT-releases plus a NEW CD of unreleased material & a thick book of interviews, recollections, informations, documents, photographs !! / LAST COPY

"A study of architecture and the perspectives it implies. An acoustic reflection of so called civilisation. Entirely recorded inside the structure of a motorwaybridge, wich is also a tunnel or even a labyrith underneath the droning traffic. A collaboration between Reduktive Musiken and Totes Format. First edition of 100 copies! Comes with colour-cover and inlaycard." [label info]

hypnotic circle with the slogan, printed 15 x 15 cm RED on BLACK on the chest => the accompanying T-shirt to the "Troum Transformation Tapes" anniversary, designed by THOMAS DOHMEN & silk-screen printed by Dirt Road Cotton in Utrecht (NL), with special 'Discharge printing technique' (the colour NEVER wears off the shirt because it discoulours the fabric instead of placing ink on top of it); 2nd edition of 50 copies, only ONE GIRLIE size left : M

7 tracks based on 7 different instruments, moving through various stages, moods and realities, these instruments become sources of texture, resonance, and color. They are not simply played, they are expanded, dissolved, and transmuted...EmphasYs unfolds like a sequence of elemental states. The music appears as colorful fluids, shining gases, iridescent ether. Sound behaves like matter in transformation, shifting density, refracting light, dissolving form" - double LP gatefold version, OUT SOON !!

"SEVEN tracks based on SEVEN different instruments, moving through various stages, moods and realities, these instruments become sources of texture, resonance, and color - They are not simply played, they are expanded, dissolved, and transmuted...EmphasYs unfolds like a sequence of elemental states. The music appears as colorful fluids, shining gases, iridescent ether. Sound behaves like matter in transformation, shifting density, refracting light, dissolving form" - CD version 500 copies digipack

Profound songs inspired by YEATS-poems: The acoustic transformation of the deepest yearning - For this release, the german ‘transcendental-drone’-duo TROUM teams up with the legendary british singer / songwriter and EYELESS IN GAZA-member MARTYN BATES, who has sung & played (mouth organ & melodica) over basic material TROUM provided – consisting of harmonic minimal loops & basic song structures derived from accordeon, e-bass & guitar, percussion), who were then also responsible for the final subsequent additions mastering (adding more guitar-work, voices & balalaika). - 6 panel full-colour digipack, artwork DANIEL CROKAERT / Mystery Sea

a quite special album by the Italian melanchoHOLIC, who performed this album completely alone and in real-time by using only piano samples, trying to capture the specific emotional "moment" in certain music... : "This is, by far, the most emotionally moving album I've made in my life so far."....an album about inner 'Growth', the incredible transformation of living beings, of the own Self... - CD in 6 panel digisleeve, lim. 200 copies

with i.e.XANOPTICON, TENTATIVELY A CONVENIENCE, POWDER FRENCH, OPERATION RE-INFORMATION, etc etc.

soundtrack for the film of the same name by MARIE LOSIER about the art & life of GENESIS BREYER P-ORRIDGE (THROBBING GRISTLE, PSYCHIC TV) and "his" wife LADY JAYE and their incredible "Pandrogyne" project (using sexual transformations to create a complete symbiosis with the beloved other); music by PSYCHIC TV, THEE MAJESTY, GENESIS BREYER P. ORRIDGE & LADY J., and other collaborations...

amazing collection of early experimental / electronic music from Peru, you won't know the names of these composers but this "wild" mixture of tape compositions, electronic experiments & 'new music' in classical formations with acoustic instruments; curated by LUIS ALVARADO, comes with 24p. booklet in Spain & English; for explorers of exotic electronics !

"What is ‘sound art’ and what is ‘experimental’ can be debated at length, but sound art is a Western construct, and experiment is something Indian musicians have long been engaged in whilst keeping their traditions alive and transformative.."

amazing (re)productions of central FLUXUS pieces and extensive information about the whole movement and ideas: LA MONTE YOUNG, JOHN CAGE, MILAN KNIZAK, HENNING CHRISTIANSEN, YOSHI WADA, PHILIP CORNER, etc. - all kinds of forms (live-studio-scores-solo-ensembles..) performed by about 20 musicians like ANNA CLEMENTI, WERNER DURAND, DIEDRICH DIEDERICHSEN,.. = the ultimate FLUXUS compilation! 72 PAGE BOOKLET, INSIDE A SLIPCASE / LIMITED EDITION 400 PIECES

amazing (re)productions of central FLUXUS pieces and extensive information about the whole movement and ideas (24 pages 12" x 12" booklet): LA MONTE YOUNG, JOHN CAGE, MILAN KNIZAK, HENNING CHRISTIANSEN, YOSHI WADA, PHILIP CORNER, etc. - all kinds of forms (live-studio-scores-solo-ensembles..) performed by about 20 musicians like ANNA CLEMENTI, WERNER DURAND, DIEDRICH DIEDERICHSEN,.. = the ultimate FLUXUS compilation! (gatefold cover, lim. 400)

originally a 10" on CHRIS CUTLERs Rec. Rec. in 1981 (this reached the Nr. 2 of NME charts!), this French duo (with guest players from URBAN SAX, ETRON FOU LELOUBLAN, etc.) surprised with a versatile non-genre sound, merging electronics, instruments (lap-steel guitar!), prog-rock and jazz influences, with song formats or completely experimental noises + sounds, it still sounds incredible today... this re-issue contains diverse bonus tracks, some previously unpublished, and comes with a 8 page booklet

three cassette only albums from the earliest V.O. drone-ambient phase: "Gathering in Frozen Beauty" (1989), "Near the Flogging Landscape" (1990), and "Refined on Gentle Clouds" (1991, released on the legendary Welsh label DIRECTION MUSIC) => all of them of highest quality and for the first time re-issed on any physical format ! Comes w. thick 8-panel triple-pack, lim. 400 copies

" a collection of rare recordings, often unreleased before or scattered on various types of samplers, small formats, which are practically impossible to obtain today... " - for the fans a must - 23 tracks from the period 1990-1998 of DIRK SERRIES legendary true ambient project, comes in extremely thick 8 panel digipack (looks like a book almost), 400 copies,

the transformation of RAYS into music; minimal tribal hypno-ambience/industrial from Canada! SPECIAL OFFER now!

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!

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

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

re-issue of the rare ALT.VINYL "3D"/ architectural cover art release in box (2012) that came out on 3 vinyl formats on 7. Oct. 2012... => "7.10.12" is a very versatile collection of many shorter tracks (18 in total), many field recordings and obscured material appears, but also more typical Z.F. "harmoniques exotiques" pearls, backwards-sounds and 'undecipherable atmospheric noises' (U.A.N.) en masse... a most beautiful & mysterious Z.F. album from their later phase... lim. 300 copies

some years ago ARVO ZYLO constructed a drone piece out of "layered samples from pop divas holding sustained notes", and made 100 different versions out of it; this CD-R contains versions # 93 to # 99, interestingly shaped drone noise loops.. " At various times these transformations are taken to the extreme, enter Zylo's love for noise, with loops and sounds from the conveyor belts of an industry in decay, but also decay of a more subtle origin can be spotted.." [FdW/Vital Weekly]

https://15dbz.bandcamp.com/album/between-checks-and-artillery-between-work-and-image Exzellente 2-track 10" dieses US-Trios, die sich hier weniger "industriell-elektronisch" als eher minimal Gitarren-dronig mit Hang zum Monumentalen zeigen.... anschwellende Gitarren-Anschläge, tiefe Drones, Rausch-Effekte, allmächtige Crescendi, erhabene Weiten & wuchtige Pulses auf Seite auf Seite B.. "A trio from San Francisco composed of Daniel Blomquist, Mark Wilson and Michael Addison Mersereau, 15 DEGREES BELOW ZERO, with previous releases in CD or CDR format on the FORCE OF NATURE and CRUNCH POD labels, brings us their first production in vinyl format. It is comprised of 2 exclusive tracks, on 10’’ vinyl, released on the Montreal based label .ANGLE.REC., still fond of the vinyl disc. 2 tracks which suggest an even more brilliant and exploded future for this exploratory vehicle born on the ashes of the famous IMPERIAL FLORAL ASSAULT UNIT project. The trio’s most recent CD, ‘’Under A Morphine Sky’’, offered a well-balanced perspective between improvisation and composition, a sound alchemy that is realized without any pretension under a purple and…of course… morphined sky. Power-Electronics in symbiosis with Dark-ambient in symbiosis with Guitar-Noise in symbiosis with various layered and shifting acoustic and electronic elements …The result and the overall feel were stunning. This 10incher is the log ical follow-up to the madness. 2 face(t)s, 2 slices of life. A side, ‘’KRONOS’’, proposes us a guitar-based canvas with multiples effects and spacious microworlds, with an accelerating insanity and intensity, an 8-9 minute segment which flies like the wind. It can also be considered as an extrapolation on the last minutes of ‘’THE RETURNING’’, found on B Side; ‘’THE RETURNING’’ begins with an epic lo-fi martial/neoclassical/doom segment but rather soon, haunting post-rock/shoegaze guitar-based structures come to occupy the main stage, and the power electronics segment also turns up very quickly following that, the whole being accomplished with a constant mastery and concern for texture. It is chaotic, foggy buy damned melodic and moving …and it does not stop gaining in intensity. Towards the final segment, we have samples and then a melodic guitar-based motif with a healthy dose of echo, which reverberates while consuming itself, till the end … 15DBZ has crazy surprises in store for us. Discover why, now. Many ambiences and textures on this 10’’ remind us of the reasons why we got interested, in the first place, in various ‘’nocturnal’’ and/or ‘’subterranean’’ musical universes. The beauty of it all is that here, everything is presented in condensed fashion. 2 tracks which fly too fast despite their relative length. Another welcome add to the .ANGLE.REC. vinyl series." [label info] www.angle-rec.net

Beyond Time is a soundtrack album by acclaimed experimental group 23 Skidoo, released as a special double disc edition combining their score for the 2011 documentary film, and a DVD of the film itself. Directed by Alex Turnbull and Pete Stern, Beyond Time is a journey into the life and work of artist William Turnbull, from his modest roots as the son of a Dundee shipyard engineer to his standing as one of the world's most highly regarded modern sculptors. Narration is by Jude Law. "An insightful, irreverent documentary, yet with a palpable sense of purpose" said the Daily Telegraph, with the Guardian confirming that "William Turnbull helped change the way we see art today." The soundtrack music is performed by 23 Skidoo. Formed in 1979 as industrial, post-punk and funk genres coalesced, the group included Bill Turnbull's sons Alex and Jonny together with Fritz Catlin and Peter 'Sketch' Martin. As well as new music, the score features several re-worked versions of older material. "Johnny and I thought 23 Skidoo's anti-commercial tendencies came from a punk sensibility," explains Alex. "But it turns out we had a genetic predisposition to anti-establishment practices. Bill was a polymath at a time when that was a dirty word, shifting between sculpture and painting and putting both in a symbiotic relationship. Now crossing boundaries is everywhere: think of hip-hop. The name of the band referenced a William Burroughs short story. Burroughs used, as we did, cut-up techniques, collaging and sampling. We were oblivious to the fact that a lot of that aesthetic was in what Bill did until I made the film." Both the CD and vinyl versions of Beyond Time include a Region 0 NTSC format DVD of the documentary (with bonus features), but feature different artwork. The CD/DVD package features a portrait of Bill by photographer Ida Carr, while the vinyl/DVD version features a detail from 05 by William Turnbull (oil on canvas, 1959) printed on matt reverse board. CD + DVD tracklist: 1. Dawning (version) 2. AYU (ambient) 3. Calypso 4. Interzonal 5. Kendang 6. Contemplation 7. Helicopterz 8. Urban Gamelan + Region 0 NTSC DVD LP + DVD tracklist: A1. Dawning (version) A2. AYU (ambient) A3. Calypso B1. Kendang B2. Contemplation B3. Helicopterz B4. Urban Gamelan + Region 0 NTSC DVD Design concept by Neville Brody. Vinyl + DVD version contains free download. https://lesdisquesducrepuscule.com/beyond_time_twi1223.html

Beyond Time is a soundtrack album by acclaimed experimental group 23 Skidoo, released as a special double disc edition combining their score for the 2011 documentary film, and a DVD of the film itself. Directed by Alex Turnbull and Pete Stern, Beyond Time is a journey into the life and work of artist William Turnbull, from his modest roots as the son of a Dundee shipyard engineer to his standing as one of the world's most highly regarded modern sculptors. Narration is by Jude Law. "An insightful, irreverent documentary, yet with a palpable sense of purpose" said the Daily Telegraph, with the Guardian confirming that "William Turnbull helped change the way we see art today." The soundtrack music is performed by 23 Skidoo. Formed in 1979 as industrial, post-punk and funk genres coalesced, the group included Bill Turnbull's sons Alex and Jonny together with Fritz Catlin and Peter 'Sketch' Martin. As well as new music, the score features several re-worked versions of older material. "Johnny and I thought 23 Skidoo's anti-commercial tendencies came from a punk sensibility," explains Alex. "But it turns out we had a genetic predisposition to anti-establishment practices. Bill was a polymath at a time when that was a dirty word, shifting between sculpture and painting and putting both in a symbiotic relationship. Now crossing boundaries is everywhere: think of hip-hop. The name of the band referenced a William Burroughs short story. Burroughs used, as we did, cut-up techniques, collaging and sampling. We were oblivious to the fact that a lot of that aesthetic was in what Bill did until I made the film." Both the CD and vinyl versions of Beyond Time include a Region 0 NTSC format DVD of the documentary (with bonus features), but feature different artwork. The CD/DVD package features a portrait of Bill by photographer Ida Carr, while the vinyl/DVD version features a detail from 05 by William Turnbull (oil on canvas, 1959) printed on matt reverse board. CD + DVD tracklist: 1. Dawning (version) 2. AYU (ambient) 3. Calypso 4. Interzonal 5. Kendang 6. Contemplation 7. Helicopterz 8. Urban Gamelan + Region 0 NTSC DVD LP + DVD tracklist: A1. Dawning (version) A2. AYU (ambient) A3. Calypso B1. Kendang B2. Contemplation B3. Helicopterz B4. Urban Gamelan + Region 0 NTSC DVD Design concept by Neville Brody. Vinyl + DVD version contains free download. https://lesdisquesducrepuscule.com/beyond_time_twi1223.html

"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

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]

"Angespannt und wunderschön: das Bostoner Metal-Duo mit einem perfekten Album: Das Experimental-Metal-Duo 5ive gründete sich 2001 in Boston und ist nicht zu verwechseln mit der verblichenen englischen Boygroup gleichen Namens. Gitarrist Ben Carr und Schlagzeuger Charlie Harrold beehren uns nach sieben Jahren relativer Anonymität mit einem nahezu perfekten Album, das sowohl die Vergangenheit der beiden zusammenfasst, als auch den konzeptuellen Fortschritt spiegelt. "Hesperus" stiftet den Hörer zu einer Reise durch ein gedankliches Wirrwarr an. Es ist der bleierne Versuch, unter dem zyklisch wiederkehrenden Gebräu eines transformativen Sounds die melodischen Spitzen auszugraben. Produziert von dem Grammy-nominierten Andrew Schneider (Cave In, Daughters, Scissorfight) versetzen die sieben Tracks von "Hesperus" den Hörer in einen schlafwandlerischen Zustand, um ihn dann in einem Raum sehr unangenehmer Stille aufzuwecken. Dies alles ist "angespannt und wunderschön" (The Guardian).

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 _

Over the past two years, Lorenzo Abattoir's work has focused on researching various breathing and amplification techniques to create a sort of non-verbal language through which to express the sounds of an 'inhuman' being. The first act of this transformation took place in "Disincarnazione" (CD, Flag Day Records, 2023); the artist frees himself from his own corporeal state and the cultural structures sedimented over millennia of evolution to explore the sonic possibilities of the animal body as a medium and instrument of his work. Continuing to explore these possibilities in "Second Act" (cassette, Vice de Forme, 2023) and then "Third Act" (cassette, Titania Tapes, 2023), Lorenzo Abattoir's new work succeeds in giving shape to this creature. The artist assumes the form of this new beast, delineating its field of action and incorporating movement into his practice. With "Mess (akt IV)", the fourth act of his research recorded at Nub Project Space and issued now on LP by PLANAM, Abattoir consecrates a new being in a state of sonic confusion, no longer human but not entirely beast, taking its first steps in his sonic and performative universe. The amplification delivers to the listener the sonic image of a hybrid primate amidst the entirety of the noises of its body, from breaths to movements, in a non-place that allows us to explore the depths of the animal body. Lorenzo Abattoir perform a very singular creative gestures exploring a territory on the edge of environmental animal sounds, musique concrète and the generative performative. So visceral and raw, “Mess (Akt IV)” is deeply engaging and not for the faint of heart. Very limited LP edition including an insert with drawings, score and notes. Only 150 copies made available for international distribution. https://nubprojectspace.bandcamp.com/album/mess-akt-iv

"We are pleased to confirm that Aeoga, a duo formed back in 2004, is active again. Temple Treye is a work that was recorded and presented live already in 2006, but because of various reasons remained hibernating in the group’s personal archives for eight years. Due to the recent awakening, it was essential to gather the past and free these six telemorphic sonic formations; the crescent pillars had to be ignited. Temple Treye will be released through our Sublunar series, concentrating on presenting the new releases from the artists of the Helixes collective. Temple Treye is an ascetic yet vigorous continuation to the groups past discography. An outlandish touch ignites the earth-bound stellar components into bi-directional currents. Abstract electro-acoustic currents, coarse drone ambience and meditative rhythms guide onward on the pathway eating itself. Telemorphic-statues are burning, spectral-horizons collapsing into sub-atomic states which linger omnipresent among the threads of blooming semblances. Prism-like petals wither into immaterial gorges of power. Guardian's tonguing stare churning the revealing paralogies. Trance feasting the entrance. This is archaic dronumental Temple Music in its purest form. Total time: 43:41. The regular edition of 444 copies is housed inside a hand finished cardboard covers including an eight panel booklet." [label info] www.auralhypnox.com

"Three introspective instrumental (English horn, flute, percussion, double bass, Hammond organ) compositions performed, recorded and mixed by Timo van Luijk during 2010-2012. Edition of 400 copies." [label info] www.lasciedoree.be "When he has his solo hat on, Timo van Luijk calls himself Af Ursin and his favorite format of release is the LP too. His covers are beautiful, just like the In Camera releases actually, but do not contain an awful lot of information, just like the In Camera releases actually. Af Ursin's music is less based on electronics, but more along the lines of acoustic instruments. Van Luijk uses a relatively small palette of sounds and works with them. I believe not in an analogue manner, but through the use of the computer. The a-side has the side long piece 'Sylphide', which seems to be build from a trombone or trumpet sound. A simple tune, repeated over and over again, with some pauses in between. Say the way Brian Eno did his early ambient pieces of loops of varying length, but then even more stripped down, reduced, minimal and perhaps also more classical. 'Taciturne', the first piece on the b-side is with flute sounds, but also with some highly obscured field recordings of objects moving in the far distant. 'Elegie' is then another piece for another instrument. It seems an organ of some kind, like a children's organ, or a harmonium, but perhaps pitched up a bit. I am not sure, but here to we have the same layered aspects as we had on the other side and yet at the same time this layering doesn't mean it's crowded. It has that same wonderful tranquil character as the other two pieces, or, in fact the two In Camera records. I play all of this music when I got up this autumn morning, mainly playing music and watching clouds pass outside, making darkness and sunlight change all the time, in a similar slow motion. This is just perfect. I should take a day off, play all Af Ursin records, In Camera's other two records and all of the Mirror releases. Sadly that can't be." [FdW/Vital Weekly]

Wirklich Genre-übergreifend, was das in Israel beheimatete Projekt (aus dem CHAOS AS SHELTER-Umfeld bzw. dürfte Vadim Gusis aka CAS hier auch mitspielen) hier fabriziert hat: Leidenschaftlicher, ost-europäisch geprägter Folk mit klagendem weiblichen russischen Gesang vermischt mit industriellen drones & samples & konkreten Geräuschen, Pianotunes, das alles sehr sehr schwermütig zerbrechlich schön. Auf Seite B lange düstere Streichersounds und drones.. dazu ein großformatiges, sehr ästhetisches Cover mit kirillischen liner-notes. Absolutes Highlight! Israel based Folk-Industrial project with very passionate & melancholic tunes, very much recommended, one of our highlights! “ Like all Stateart releases, a highly demanding album. Agnivolok compells us to discover a new world of musical meltdown and takes traditional music into new dimensions. It is not folk - although the traditional fire will project ancient Caucasian gatherings into your mind. It is not ambient - although it makes you dream, and these dreams ache. Agnivolok is near life experience - music for spiritual travellers and the listener's V.I.T.R.I.O.L. This heavy vinyl LP comes in a supreme white cardboard folder with silver print.” [label description]

"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

First released in 1989 as a tape on the legendary German label CTHULHU RECORDS and re-released in 1998 by OEC as limited vinyl, this legendary album sees finally the light for the first time into CD format. An absolute masterpiece of Ritual Music by those two primer Italian post-industrial acts. Tracklist: 1. AIN SOPH - Rex Tremendae 2. AIN SOPH - Estey 3. AIN SOPH - Katàbasis 4. AIN SOPH - Retrowange Novelle Retrospective - SIMULACRA 5. SIGILLUM S - Sea Ov Dreams 6. SIGILLUM S - Abyss Dissection 7. SIGILLUM S - Deepest Of My Brain 8. SIGILLUM S - Into the Nothing 9. SIGILLUM S - Iconsire ############################### "thee Roma based Italian projekt Ain Soph were active for over twenty years & generated an opus which has irrefutably impacted many who have followed!! conjuring dark ritual atmospherics beginning in thee early 80's, and working into realms which were at times neo-classical, archaic-choral, traditionalist folk, and even psychedelicised renderings ov rock. this cassette was released intitially upon thee highly respected German industrial/experimental electronics label Cthulu which operated from 1981 until 31 Dec. 1999. Will-I Stasch and Rose Kasseckert ran the label and are well-known for their work as Ernte, as well as being two-thirds of Mental Measuretech and publishing the magazine "The Feverish"." the cassette was also later reissued onto a vinyl format by thee astonishing Italian labels Old Europa Cafe & Misty Circles!! whilst thee materials for thee Ain Soph side ov this release are not easily definable; an inarticulate summation comrprised ov thee descriptives dark ritual electronics, haunting choral workx, and neo-classical symphonics may be within a range ov aproximation; though thee reader/listener shall hopefully draw reactions ov their own.. thee lineup for these recordings was listed as: Clau-D.E.D.I. [Claudio Giammarini- Circus Joy, Sentinels, Mushroom's Patience, MALATO..], Crucifuge, Foraenovis, and Marcello Fraioli [Sex Voto, Spectre]!! thee projekt Sigillum S [alternately known as Apocalypse Fanfare & Helix] were "formed in Milan on 23 December 1985 by Paolo Bandera [Komplet, Sshe Retina Stimulants, Sidra ], Eraldo Bernocchi [Black Engine, Charged, Equations of Eternity, Metallic Taste of Blood, Owls, Parched, Somma], and Luca Di Giorgio! still active after more than twenty-five years ov creative activities; thee presence ov this projekt tis undefinably magnificent!! thee recordings for this cassette consist ov uncanny synthesizer ambiances with ritualistic percussions and vocals with thee usuage ov human bones as instrumentation!! for all ov those who may have been waiting: may this be a token ov affection from your faltering presenteur.." [vitaignescorpuslignum.blogspot.com]

cycliclaw.bandcamp.com/album/new-revelations-of-being American Dark Ambient sound sculptor AJNA returns with his latest full-length work, New Revelations of Being, an eleven-track descent into the abyss of human psyche and metaphysical dread. Following his acclaimed Cyclic Law releases, this new opus draws direct inspiration from the fevered writings of Antonin Artaud’s Artaud 1937 Apocalypse. With New Revelations of Being, AJNA channels Artaud’s fragmented visions of destruction, renewal, and transcendence through a vast palette of subterranean drones, spectral resonances, and suffocating atmospherics. Each track unfolds like a psychic document, blurring the line between revelation and delirium, guiding the listener into haunted states where words dissolve into vibration and consciousness is unmoored from form. At once oppressive and illuminating, the album furthers AJNA’s ongoing exploration of the boundaries of perception, death, and rebirth. Dense textures coil and fracture into hidden harmonics, mirroring Artaud’s own descent into madness as a vessel for ecstatic truth. New Revelations of Being cements AJNA as one of the foremost practitioners of the Dark Ambient tradition, offering not just music but a transformative experience, a ritual in sound that demands surrender. CD Edition of 300 copies in 4 panel Digipak. 11 Tracks. Running Time 69:10

" "Kabul" entstand quasi als Auftragsarbeit von IVAN CHIOSSONE und ERIC ALDÉA (Ex-DEITY GUNS, Ex-BÄSTARD) für den Film "Earth And Ashes" von Atiq Rahimi. Im September 2003 besuchten sie ihn für zwei Wochen in Kabul und nahmen dort landestypische Sounds wie traditionelle Gesänge oder eine Sufi Formation auf. Mit diesen Sounds im Gepäck ging es zurück nach Paris, wo sie ihre eigenen Parts sowie die des afghanischen Sängers Massoud Raonak und die Beiträge von Pierre Citron (Flöte), Franck Laurino (Ex-BÄSTARD, Percussion), Hasmig Fau (Cello) und François Cuilleron (Ex-BÄSTARD, Geige) hinzufügten. Heraus kam "Kabul", randvoll mit mächtiger und wunderschöner Musik, die mit Sounds angefüllt ist, wie man sie in unserem Kulturkreis selten oder gar nicht zu Gehör bekommt. Und da Atiq Rahimi in der finalen Version seines Films nur einen Song benutzte, kommt dieses Digipak mit seinen 16 Songs genau zur rechten Zeit." [label info] "CD des Monats. Was sag ich, Anwärter auf das Album des Jahres, ganz sicher. Aldea und Chiossonne aus Lyon reisten nach Afghanistan ... und spielten dann genau das Album ein das heutzutage jeder braucht. ... Kaufen und glauben." ***** De:Bug 03/05

talian sound artist GIULIO ALDINUCCI drops his 2nd album on Karl: “Disappearing In A Mirror” is again a truly masterfully composed and sound-designed ambient masterpiece and a more than worthy follow-up to the critically acclaimed “Borders And Ruins” which made it onto several year’s best lists for 2017. Over the course of four solo albums on labels like DRONARIVM plus EPs and collaborative albums (a.o. with IAN HAWGOOD), GIULIO ALDINUCCI successively has been refining his skills as composer and sound designer. His elegant style which blends ambient and field recordings came to full impact on his 2017 album “Borders And Ruins” which gained the Italian sound artist a lot of critical praise and made it onto several year’s best lists, a.o. Acloserlisten.com. ALDINUCCI’s latest effort is again not only a musical masterpiece of sublime beauty and sacral majesty, it also deals with philosophical concerns. Where “Borders …” was a reflection on the instability of borders - borders as an extreme attempt to discriminate and rationalize that turns into a source of chaos and cultural ruins on both sides - and their impact on the relationship between people and territory, “Disappearing In A Mirror” raises the very personal question of identity. In the words of ALDINUCCI himself: “ ‘Disappearing In A Mirror’ focuses on the fluidity of the identity concept, highlighting the harmonious coexistence of contradictory elements and the transitional features that characterize every transformation. It is a reflection on the current situation of change and disruption and at the same time it is a gaze into the human timeless soul and its inner soundscapes.” https://karlrecords.bandcamp.com/album/disappearing-in-a-mirror "Apart from his various collaboration and split releases, Disappearing In A Mirror is Giulio Aldinucci's follow-up to 2017’s Borders and Ruins, and it is his second release for Karl Records. If you thought Borders And Ruins depicted a rather dark view on the state of the world, you’d better be ready for this new album. “Where [Borders and Ruins] was a reflection on the instability of borders and their impact on the relationship between people and territory, 'Disappearing In A Mirror' raises the very personal question of identity." Aldinucci manages to create a sonic version of a hall of mirrors, where you can get completely disoriented from the images of yourself trying to find a way out. In a striking combination of gritty distorted sounds and distant orchestral and choral arrangements that sound like a stretched Beethoven symphony, the first two tracks present a frightening dystopic view. But from there, Aldinucci [somewhat] restores the balance with 'Notturno Toscano', as if he doesn’t want to scare the listener too much. But even in this track the intensity slowly increases again. There’s no way out of the mirror maze, it seems… "Disappearing In A Mirror focuses on the fluidity of the identity concept, highlighting the harmonious coexistence of contradictory elements and the transitional features that characterize every transformation. It is a reflection on the current situation of change and disruption and at the same time it is a gaze into the human timeless soul and its inner soundscapes." If the sweat in the palms of my hand is an indicator of emotional intensity, this album definitely belongs on the top the list!" [Headphone Commute]

Italian sound artist Giulio Aldinucci returns with his fourth album on Karlrecords: Real is again a truly masterfully composed and sound-designed ambient masterpiece and a more than worthy follow-up to the critically acclaimed Borders And Ruins (2017), Disappearing In A Mirror (KR 055CD, 2018), and Shards Of Distant Times (KR 076CD/LP), which all made it onto several year's best lists. With now his fourth album for Karlrecords, the sound artist from Siena, Italy has proved a steady and prolific artist on the label roster. And each time, Giulio Aldinucci delivers a new ambient masterpiece that clearly carries his signature as composer/producer and yet reveals a slightly different approach to his modus operandi. Aldinucci's massive layers of sound, built from field recordings and an array of electronic gear, blend drone-y ambient with heavenly voices/sacred music that create an atmosphere of a consolatory melancholy -- alien, but with a graspable presence of human souls. And each album deals with a topic that Aldinucci came across in his observations of and reflections about today's society. In the words of Giulio himself: "The digital media we live with shape and define reality by filtering it, letting us run the risk of living without our personal and unique one. My new album expresses a need of something unmediated and authentic. Real is a reflection on the endless possibility of sonic transformation, the ability we have to create new realities transmuting the soundscape around us and the inner soundscape inside us, even only by imagining it. A (deep)real experience permeated by dreamy lyricism." 180 gram vinyl; gatefold sleeve; includes download card. https://karlrecords.bandcamp.com/album/real

On April 7th the Berlin-based Peruvian musicians Alejandra Cárdenas, AKA Ale Hop, and Laura Robles present their debut album together, released via Buh records. With a foundation informed by decolonialism and organology, ‘Agua Dulce’ is a radical deconstruction of traditional rhythms of the Peruvian coast, in which the cajón instrument plays a central role. ‘Agua Dulce’ is named after the most popular beach in Lima, near where both artists lived during their childhood, houses apart, without ever meeting one another. Now, years later, the pair have joined forces, with Robles on a self-built electric cajón and Cárdenas on electric guitar and electronics. Together they explore rhythmical structures that form the backbone of the complex Afro-Peruvian music and dance traditions – a broad term used for the various musical developments that occurred in the last two centuries, at the shores of the Peruvian Pacific. The cajón originated in coastal Peru as a percussion instrument that the black slaves created from wooden fruit boxes, when foot drums were banned at the end of the Spanish colonial-era, in the 19th century. From its birth the cajón was a symbol of resistance, experimentation and transformation, so Robles and Cárdenas strive to maintain the instrument’s spirit and qualities by pushing the boundaries of its sound into the future. However, although buzzing with an intense voltage and proffering a fresh contribution to modern experimental/noise/low fi/percussive music, the duo’s mission isn’t merely capturing something sonically futuristic, but is primarily concerned with shaking off the dust: “These rhythms have become ossified nowadays, heard in Peruvian folklore shows, and on the ‘global music’ circuit, but our desire is to experiment and do something more radical with them, connecting to the instruments more radical past”, comments Cárdenas. The two musicians take the pulses of dances like Landó, Zamacueca, Festejo, Alcatraz, Lamento and Son de los diablos, electrifying and mutating them into pure textures, or reinforcing the physical character of the cajón through repetition and distortion. The LP began with recorded improvisations between the duo at Ale Hop’s studio, which she then edited, adding synths and more guitar. Following that it was performed live for the Heroines Of Sound festival, accompanied by the dancer/choreographer Liza Alpiźar Aguilar, which was described as “nothing short of amazing” by The Wire. Following the show Cárdenas added further edits and post production, resulting in the finished article. ‘Agua Dulce’ is published through Buh Records, on all digital platforms and in a vinyl edition, limited to 300 copies. Cover Art by Eduardo Yaguas. --- Ale Hop is an artist, researcher and experimental musician. Her work includes live shows, record releases, sound and video artworks, research on sound and technology, and original music for film and dance. Her live performances merge the physical qualities of music with raw emotional states. She builds layers of sounds by blending a complex repertoire of guitar techniques processed by synthesis devices, to create a music of deep physical intensity. She came up in Lima's experimental underground during the 2000s, and currently resides in Berlin, where she caught the attention of the city's electronic scene, with her visceral live guitar performances, in which she loops out layers of sound, creating densely woven atmospheres. She has recorded mixes for Crack magazine and The Wire, and performed and exhibited work at Unsound, Rewire, Boiler Room, HÖR, New York’s Museum of Arts and Design and Somerset House. Her previous album, 2021’s ‘Why Is It They Say A City Like Any City?’ featured contributions from KMRU and Concepción Huerta, amongst others. alehophop.com Laura Robles was born in Swaziland and grew up in Lima. She is a percussionist and bassist formed from a very young age in the rich Afro-Peruvian and Cuban musical traditions. Her approach to jazz, funk and free improvisation is informed by the rhythmic elements of Latin American popular music. Robles founded the socio-educational initiative Parió Paula’. She has played with theater and dance companies and renowned folk, jazz and rock musicians worldwide, as diverse as: Maria Schneider, Christian Weidner, Almut Kühne, Pablo Held, Niels Klein, Ensemble Neue Musik Zürich, WDR Big Band, Christian Steyer, Wanja Slavin and Steffen Schorn. Laura lives and works in Berlin. In 2022 she was nominated for the German Jazzpreis award in the drums/percussion category, and in 2014 she won Berlin’s Studio Prize in with her band Astrocombo. She is reputed to be one of the best cajón players in Peru. https://alehop.bandcamp.com/album/agua-dulce

"Work presented during the personal exhibition of Pier Alfeo "Incisione su Silenzio" at the gallery Doppelgaenger of Bari, Italy (22 February - 22 May 2019). Description: the collection "WORKS 2016-2018" includes the first three electro-acoustic compositions created during the academic years, a period in which the algorithmic computer programming technique was learned using the Wolfram language in the domain of the Mathematica software. This technique involves the construction of sound on a mathematical-computer level taking into account the structural parameters of the sound itself, such as: attack times, duration, intensity, height, envelope and spatialization, using granulators, additive synthesis and subtractive synthesis. The system consists in the creation of data matrices which are then appropriately interpreted by the CSound software which renders them in audio format, a material that was subsequently organized and edited for composition purposes. The intent during both programming and composition was to arrive at a sound that preserved a certain warmth, a certain organicity. In "All That Fall" a single sample of origin was used, the recording of a crackling fireplace, while in "The Never Spoken Words" all sound generations were created by processing only recordings of voices and vocalizations. 300 copies on white vinyl. Gatefold poster cover (oversized: 60 x 90) para-graphic score of the composition "All That Fall". Mastered for vinyl by Giuseppe Ielasi."

Sehr nebliges neues Material, eine einzige Verschmelzung aus dumpfen Flöten, sich auflösenden einzelnen Gitarren & Zither-Tupfern, sanft auftauchender Perkussion & Naturaufnahmen, sowie Shortwave-Radioklängen, in einem Ozean aus Hall & bedächtiger Vibration..... erinnert eher an „alte“ ALIO DIE aus der Frühphase, aber ohne die typischen Loops... strahlt eine erhabenene Dunkelheit aus... “This new cd contains unrealized material recorded by Alio Die in the year 2001, mostly around the time of the winter solstice. The tracks are characterized from the editing of old recordings produced in Milan in 1990, with Massimo Ladarola plays guitar and effects. The recordings were integrated with radionoise from an old Valvular Model. Some new sounds of flutes and percussions were added from Gianfranco Cualbu. The recordings were completed with a new tracks displays zither, muezzin voices from the shirt wave space and field recordings made by Alio Die in Notre Dame, Paris Sept 2002. The sound atmosphere of this release is close in some way of the really first CDs by Alio Die, with a light electronic taste, in the feeling of the dark that pass before a new dawn. SOL NIGER CD is finally out and is ready to be spread around.. You can find more information about titles and look the seed-cover on: http://www.aliodie.com ~ at discography section” [label info]

"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 "…Beautiful ambient sounds and textures which provide a thought provoking atmosphere. Very mysterious moods shift throughout the different tracks presented on this cd. A subtle power, and features some excellent aural work." DanielPlunkett / N.D. Texas, spring 1993

"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

Dies dürfte die erste echte Zusammenarbeit der italienischen Projekte sein, scheinbar geht es hier um Vertonungen des Himmels, genauer: verschiedener Wolkenformationen (CIRRUS = reine Eiswolke in großer Höhe / auch Federwolke genannt; PERLUCIDUS = "durchsichtige" Fleckenwolke; NIMBUS = Regenwolke; RADIATUS = Wolken die parallele Bänder aufweisen; STRATUS = niedere Schichtwolke; CUMULS CONGESTUS = mächtige Quellwolke). Entsprechend "luftig" und ätherisch sind diese hellen Drones geraten, in die sanfte Field Recordings (Wasser, Insekten) sowie die typischen Zither-Klänge von ALIO DIE gemischt wurden... das ist "Ambient" pur, hat klanglich vielleicht nicht das allergrösste Innovationspotenzial, aber wer ALIO DIE & AGLAIA bereits kennt wie meisterhaft & einmalig sie organische Klang-Meditationen umsetzen können... Musik wie Wellenreflektionen. "Slow waves of sound flow suggestive of psycho-acoustic energy come with peripheral fragments of sonorities, carried on the wind, drifting as if at the edges of sleep.." Aglaia: Synth Textures and Analogies. Alio Die: Drones and Loops, Zither, Field Recordings. https://aliodie.bandcamp.com/album/private-history-of-the-clouds "Infraction Records curates this new entry to the already considerable body of collaborations involving Alio Die. There have already been communings with the likes of Robert Rich, Mathias Grassow, and Vidna Obmana. Here, though, Stefano Musso's fellow-travellers are lesser known but closer to home. Aglaia is an Italian duo with a trio of albums on his Hic Sunt Leones label; Gino Fioravanti and Gianluigi Toso come trailing credentials in therapy, writing, painting, and teaching, to say nothing of alchemy and ortho-bionomy. In contrast with Musso, who has fully two decades of musical endeavors behind him, they're comparative novices. But you wouldn't have thought it. Theirs is a music whose apparent stasis enfolds within it endless subtle micro-variations. They bring with them from previous HSL releases an appealing aquatic/amniotic sound dimension, characterized by a combination of electronic sounds (analogies as the sleeve notes would have it) and processed acoustica moving as if in virtual circular breathing. Slow waves of soundflow suggestive of psycho-acoustic energy (if you're a believer, otherwise just go with the flow) come with peripheral fragments of sonorities, carried on the wind, drifting as if at the edges of sleep, recalling the way echo plays in open landscapes. That's part of the method of this animist collective's historical unfolding of its subjects' textures and trajectories, yielding a series of luminous aerated tracts. Animists see a spiritual force residing in every element of the physical world. Nature is believed to be alive, imputing an inner life to leaves, lakes and the like. Dwelling on Private History Of The Clouds brings this to mind before even entering its audio world, particularly in light of Alio Die's predilection for 'passion, nature and awakening' and Aglaia's for worlds of feeling ('mondi sensibili,' as a previous album was called). But, lest this kind of talk scare off those averse to nature-hugging, note that the musical Grace inspiring this project is more a familiar of Pandit Prath Nan and Brian Eno than of Wyndham Hill and Hearts of Space." [label info] www.infractionrecords.com

"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

Since their formation in 1977 Mark Perry’s group Alternative TV have moved far away from their more direct punk rock beginnings into all manner of other areas of music that have sometimes themselves drawn from improvisation, free jazz, industrial and electronic music. On 'Direct Action', Alternative TV’s first studio album since 'Opposing Forces' in 2015, we are presented with six instrumental tracks which steadily rip apart all expectations as they shed all allusions to rock music in favour of the kinda sonic mutilations that once helped 1979’s classic (and Nurse With Wound list endorsed) 'Vibing Up the Senile Man (Part One)' stumble into weird and wonderful shapes. 'Direct Action' marries guttural electronics to sounds most artists would consign to the bin and through Perry’s long perfected mastery of pulling together disparate strands to create something entirely alchemical and invigorating delivers a unique stamp to the ATV story. With the help of longtime collaborator Dave Morgan alongside the input of Gareth Matthews, Ruth Tidmarsh and Cos Chapman, abstract patterns of dishevelled sound rub alongside occasional percussion, disembodied plasma guitar strums and even what seems like an oboe groaning in a murky corner. Similar to its distant cousin of 'Vibing…', everything adds up to a whole that’s demanding yet completely rewarding as every listen prises open the dark scab of contemporary malaise to reveal something fresh. The front cover’s homage to the special edition reissue of an incredible album by a pioneering electronic group we are not going to name should in itself point to the unpredictable nature of the music here. If you are savvy enough to get that reference, then you’re on the right path to understanding where 'Direct Action' resides. Easy listening this ain’t. This CD features an exclusive bonus track not released anywhere else. Limited to 400. Released late March 2025.

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

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

Nach vielen Jahren ein neues Album der Band um KRIS FORCE, deren markanter Elfen-gleicher Gesang hier das Zentrum bildet für die elegischen Gothic-Folk Kompositionen mit viel Streicher-Einsatz, eher reduziert und verhalten und nur wenig "rockend", alles durchzogen von einer majestätischen Melancholie... mitunter wird das Song-Format verlassen und schwelend-ruhige instrumentelle Soundscapes erfüllen den Raum, die eine nicht weniger fragile Schönheit aufweisen... " Still Point ist die erwachsenste CD von AMBER ASYLUM, weil sie am wenigsten verspielt ist; nichts muss mehr ausprobiert werden ('Music is my evolution', KRIS FORCE). Die Stimmung, die Stimmen, die Instrumente, alles ist perfekt positioniert, es konnte nichts anders werden an diesem Album. Wundervoll depressive Kammermusik für die kommenden Monate." [Michael We / nonpop.de] "One of the most respected, legendary, and influential acts that have emerged from the neoclassical/gothic/ambient/and post-rock alternative scene, AMBER ASYLUM have once again delicately peered through the cascading light with their long-awaited full-length, the band’s first observation since 2000. Band leader KRIS FORCE was an integral part of NEUROSIS, appearing on the majority of their releases, and has played and collaborated with such legendary acts as SWANS and JARBOE. Features members that have been involved with such Bay Area luminaries as WEAKLING, ASUNDER, THE GAULT, HAMMERS OF MISFORTUNE, and LUDICRA." [label info] www.profoundlorerecords.com

Continuing his experiments combining elements of drone and modern classical music, Tehran based composer Siavash Amini`s 4th solo LP "TAR" explores the fragile tensions between an individual and a collective subconscious. TAR is an inquiry of how fears and hopes of an individual can be related to a broader state of mind shared collectively. Making it`s starting point the expression of these feelings in dreams and nightmares of each individual, and translating the images, feelings and textures into sound. After a series of noisier and less melodic albums, this release catches the active listener with a subtle tension created by oscillating sounds somewhere between discomfort and transcendence. Even if some parts of TAR are quite disturbing, the record gets never simply dark. There is a much more sophisticated attitude that deludes us into a deeper act of listening and provokes maybe even some new synapse formations. TAR was premiered in February 2017 as a part of CTM festival`s Fear Anger Love edition. Echoes of previous releases by Shiavash Amini: „This is music to get lost in“ The Wire „Iranian artist Siavash Amini has been making his own brand of ethereal dream music (steadily heading into more nightmarish territory of late)“ The Quietus "Amini provides a satisfying mix of modern classical composition, ambient noise, granular synthesis and musique concrète with a hint of muscularity below its serene surface." The Guardian hallowground.bandcamp.com/album/siavash-amini-tar

Nach langer Zeit endlich neues Material des vielleicht besten italienischen dark ambient -Projekts AMON, der hier mit Giuseppe Verticchio aka NIMH zusammengearbeit hat. Fünf lange Stücke sind hier enthalten, die sehr erdig, fast steinig-staubig klingen, man fühlt sich in endlos-einsame Felslandschaften versetzt....die tiefen Drones wurden mit teils harmonischen e-bow Gitarren und field recordings etwas aufgelockert.. "Composed, performed and recorded by Andrea Marutti and Giuseppe Verticchio between June 2005 and January 2006 in Milan, Rome and Casaline (AQ), Italy." [credits] "The mystery of the ancient and puzzling magic SATOR square is evoked again in present time through five dark tracks entitled like the five palindromes that form its fascinating structure: SATOR / AREPO / TENET / OPERA / ROTAS. AMON (Andrea Marutti), the most important and estabilished italian Dark-Ambient project, and NIMH (Giuseppe Verticchio), a well-known and eclectic alchemist of electronic-ethnic–acoustic-ambient sound mixtures, gathered together and worked side by side for some weeks to create their first collaborative effort. SATOR is a granitic and majestic work, a musical journey in time and history that leads the listeners to the deepest and remote abysses of Earth through archaic and magmatic sounds, confusing them along the way with the technologic and synthetic vibrations of oscillating sinewaves, and with frosty isolationist timbres programmed through fluxes of information written in binary code... Echoes of breathless and confused human activities falling into decay, the dark and deep Sound of Earth’s abysses, scoriae of electric buzzes and synthetic microsounds, the warmth of subliminal melodies submerged and overwhelmed by menacing and distorted agglomerates of sounds, buried fragments of an abused guitar in decomposition faded by the unstoppable march of time..." [press release]

Since a very young age, I have always been attracted to journeys and traveling to places not known to me. Last year, I watched a film from Mongolia about a dog. Once the dog dies, its soul is free to travel and wonder through landscapes and memories as a disembodied spirit. Each part of I n : : t e n s i o n : . is part of a longer journey, where you can hear, sense and discover different memories that a wandering soul revisits. Percussive, intimate, visceral, ritualistic and electrically charged, I n : : t e n s i o n : . explores tension points and internal pulses, glimpses and gestures in a non-narrative world. Composer Laura Andel was born in Buenos Aires, Argentina. After living and working in her native Buenos Aires and for several years in Boston, Ms. Andel moved to New York City in 2000, where she currently resides. She has conducted her music in New York, Boston, Berlin, Caracas, Buenos Aires and other cities. One of Andel's strengths is her ability to assemble large ensembles to play her compositions. She enjoys exploring diverse combinations of instruments and formats for her orchestras, as well as working with musicians from different musical and cultural backgrounds. Currently, she leads the Laura Andel Orchestra in several formations. Among the most recent are the 14-piece SomnambulisT Orchestra and the 10-piece Electric Percussive Orchestra. SomnambulisT, her previous extended work, was released by Red Toucan Records (RT9322) in 2003. Thanks to: Roulette, Jerome Foundation, Sacatar Foundation, Yaddo Artist Colony, Valparaiso Foundation, Jim Staley, Elliott Sharp, and all the musicians of the Laura Andel Electric Percussive Orchestra. Additional thanks to Sofía, Saúl, Hernán, and Carlos. I n : : t e n s i o n : . was commissioned in 2004 by Roulette with funds from the Jerome Foundation. All music composed and conducted by Laura Andel (BMI ©2004) Recorded live by Mario Diaz de León at The Roulette Concert Series at Location One in New York City on December 4, 2004. Mixed and mastered by Elliott Sharp at studio zOaR in New York City. Performed by the Laura Andel Electric Percussive Orchestra: Kyoko Kitamura voice & electronics Taylor Ho Bynum cornet Carl Maguire prepared fender rhodes & accordion Ursel Schlicht piano & prepared piano Kenta Nagai electric fretless guitar & electronics Joel Harrison electric guitar & electronics Khabu Young electric baritone guitar & electronics David Simons theremin & percussion Andrew Drury percussion Harvey Wirht drums Laura Andel composer & conductor www.rossbin.com/rs022.htm

"One year after the highly acclaimed "Dream Landscape" CD ANEMONE TUBE returns with the new concept album "Death over China". No country in history has emerged as a major industrial power without creating a legacy of environmental damage that can take, if at all possible, decades to undo. China`s rise as an economic power has no clear parallel in history; thus, its pollution problem has shattered all precedent developments. "Death over China" is a retaliation of nature against humankind. In the same moment it is a dedication to our untamed curiosity for the essence of death and our (inherent in our collective action) secret death wish. In China`s uncompromising economical and social development we see demonstrated, how we - even with the immolation of our health, environment and tradition - are the servants to material progress. Though we are aware of the approaching ecological disaster, we hazard the consequences. Sustainability is sacrificed on the altar of egoist quest for happiness. We consume, we destroy, we thrive, we conjure: "Deathly kingdom of desire, you sustain the life in me, Black death rise!" Using field recordings, collected in Nanjing and Shanghai in 2007, ANEMONE TUBE creates an unsettling yet intriguing, apocalyptic soundtrack with a sinister atmosphere and a depressive undertone - a unique blend of dark ambient, post industrial and power electronics in the tradition of European industrial music. "Death over China" is the second part of "The Suicide Series", for which field recordings provide a conceptional basis. In a poetic way ANEMONE TUBE combines analytical realism of the phenomenal world with buddhist psychology and nihilist rhetoric influenced by the works of Michael Haneke, Hayao Miyazaki, H.P. Lovecraft and Yukio Mishima.All music recorded between July 2007 and December 2009. Mastered by JAMES PLOTKIN 2010. Definitely ANEMONE TUBE`s best and most mature album yet." [label info] www.silkentofu.org "Anomene Tube is a noise-project formed in the Southern part of Germany in 1996. Strong influences to the compositional approach of the project is the nihilistic rhetoric works of Michael Haneke, Hayoao Miayazaki and H.P. Lovecraft combined with buddhist psychology and concrete sounds from the real world. All tracks of this album titled "Death over China", are exclusively developed from the use of field recordings. The piece "I shall forever invoke" is the only piece where there are integrations of synthesizer. For this particular piece the synthesizers adds a nice atmospheric soundscape on the background of field recordings. The piece "Prayer walk" is an abrasive beast where the noise drones makes a pure impact on the listener. Screeching noise drills into the ears with additions of distant voices adding a great apocalyptic atmosphere to the piece. Also the piece titled "Brooding haze" drills a deep impression into the listener thanks to the monotonous high frequency noise-sounds operating on top of crushing power electronics and concrete metal sounds. "Death over China" is a part of the so-called "Suicide Series" - a series that aims to express the self-destructive tendency by the modern population due to the social and highly industrialized global development. The album comes in a beautiful art-work in dvd-sized format with early photographs and paintings from early 20th century. Excellent work of noise art." [NM/Vital Weekly]

Far reaching pleasures will be at hand – Anemone Tube reveals a series of three CDs entitled “The Three Worlds: Allegory of Vanity / Forget Heaven / Vanity of Allegory”, referencing a cosmological treatise on the universe from the Theravada Buddhism of the 14th century, the subject matter of which is the description of three levels of existence of all beings and mythical creatures. This extensive retrospective release contains selected tracks from various tapes released between 1997 and 1999 - mostly rare and unavailable today - as well as yet unreleased tracks recorded between 1997 and 2013, a.o. outtakes from the “Death Over China” recordings, handpicked and recontextualized by Anemone Tube, representing the project’s roughest and most atmospheric material up to date, ranging from depressive ritual experimental ambient over dark rhythmic industrial soundscapes to whirlwind noise. Sharply mastered by Hunter Barr for a powerful, contemporary sound, each CD comes in a 6-panel digifile featuring beautiful photography by Dario Lehner and is available as single CD as well as a limited edition 3 CD set in a lavish slipcase with poster, sticker and patch. “The Three Worlds” is a work about transience on many levels, perfectly elucidated in the Buddhist Sutra “Far Reaching Pleasures”, “The three worlds are transient like clouds in autumn / Birth and death of all beings unfold like a dance / Their lives rush away like a mountain stream / Vanish like lightning in the sky”, which serves as the contextual framework for the CD series and is translated in the most beautiful and poetic fashion with three painstakingly arranged photographic scenes based on vanitas symbolism of old masters’ paintings. The object photograph “Vanity of Allegory” plays with the dissolution of all phenomena, the transience of all things, all allegories, featuring an extinguished candle, jewellery – and the artist himself, vacuously pointing his finger a skull laughing at the spectator from the mirror. All that is combined with poetry suggesting the dissolution of the ego, seemingly closing the circle. Besides collected tracks from old and recent cassette releases and compilations, this also features three unreleased tracks from the “Death Over China” recordings and therefore represents the newest cut from the trilogy and thus musically bridges the gap to the recent works of Anemone Tube with their profound depth and complexity of sound. credits released October 23, 2017 Music composed, mixed & edited by Anemone Tube. 1 recorded 2013, previously unreleased. 2–4 recorded 2007 – 2008 (Death Over China recording session), previously unreleased. 5 recorded 1998, previously released on Deafness Is Not A Gift compilation CD (Deafborn, 2000). 6 recorded 2012, prev. released on the The Transfiguration Of The Image cassette (Danvers State, 2013). 7 recorded 1998, edited 2012, previously released on Anomalous Silencer 3 comp. CD (Napalmed, 1999). 8 recorded 1998, prev. released on the Allegories For The Future cassette (Loud!, 1999). 9 recorded 2008 and 2012, previously released on This Dismal World split cassette with Dissecting Table (Black Horizons, 2013). Concept, art and design by Anemone Tube 2015/17. Photography by Dario Lehner 2015, set design, photo editing by Anemone Tube 2015/17. Mastering by Hunter Barr 2017. The Epicurean . cure.19 La Esencia . NER020/2017 Format: CD & download Playtime: 37:58 min epicureanescapism.bandcamp.com/album/the-three-worlds-vanity-of-allegory

"This disc will play in stereo on a CD player and with film and 5.1 surround sound (or stereo) on a DVD player or computer. The music, as always, is prodigious, sounding like a small band, but played by one person in real time (as the film attests). In this format, you can also see the instrument -- close to a highly rebuilt and extended giant Sardinian guitar -- with many sympathetic and extra strings, motor-driven hurdy gurdy wheels, whirling strings, springs and other appendages, played like a cello, vertically, with bow, fingers, plectra and machines. However Heath Robinson it may appear, it is clearly under Paulo's hands, a highly serious and extraordinarily flexible beast that requires and has given rise to new playing techniques. The programme of compositions here navigates through highly-organized additive rhythms, freer Frith-like pointillism and some seemingly impossible mini-orchestrations. The film, professionally made, follows the performance, occasionally interpolating abstract passages and processed images. A remarkable player with a unique instrument, playing a music entirely his own." [label info] www.rermegacorp.com

"APSE hail from New England in USA and have been described as "Post-Rock" / "Avant-Garde/Rock" / "Experimental" / ?? ... It may indeed be a tired, old, cliché but the band truly defy normal musical stereotyping. This release presents their debut on vinyl and has been long in the making. This follow-up to their 2006 CD (Spirit on Acuarela Discos) is defined as 'a glossary', that just happens to be a full-length release in its own right. View the APSE band page (here) for videos, discography and more information. Well worth exploring. The record is pressed on highest quality 180g virgin vinyl and presented in a luxurious gatefold sleeve with full printed inner and a numbered post-card insert." [label info] www.chronoglide.com/equation.html

"In the fall of 2007, around Apse's 8th year as a band, Michael Gundlach and founding member Bobby relocated to the quiet shores of outer Cape Cod, Massachusetts and began living in virtual isolation. A few months into the move and for various reasons the 2 brooklyn based members of the band were no longer in the picture, leaving only Bobby, Michael and their faithful touring bass player / contributing member John Mordecai, living 4 hours away. Together Bobby and Michael found multi-instrumentalist Jed Armour who joined the band and introduced them to drummer Brandon Collins. Both of them highly talented musicians and long time residents of the cape, the addition of these two members greatly impacted the creative capabilities of the band as well as Bobby and Michael's understanding of - and integration into the year 'round life in the band's new home. After rigorous preparation with the new members rehearsing for an already-booked 6 week European tour that saw them performing at ATP Vs. Pitchfork and several other noteworthy dates across Europe the band returned to Cape Cod and began writing a new album. In August of 2008 during the early stages of the writing process, All Tomorrow's Parties reissued the band's 2006 Spirit to warm critical reception. Labeled as a post-rock record by some, a genre-splicing giant to others, Spin Magazine's Kenny Herzog likely put it best: "Spirit is the deathnail for the labored beast that is "post-rock," revealing the much more alluring potential that always lurked around its sinister corners." Since making Spirit - originally completed in 2006 and after releasing a number of smaller albums both before and after the ATP reissue, the band found itself ready to take on its next major endeavor. Just as a director might make respective films - changing subject matter, approach and format for each - the band was inspired to explore new means of composition, songwriting and production. Its range of members were influenced from a diverse array of art and music, life experience, fiction - and were unanimously uninfluenced by their surroundings - as there were little social distractions or creative camaraderies to be had. The bulk of this writing process then took place between the fall of 2008 and the spring of 2009. Forging the album through long days and nights in the quiet beauty of the winter months on outer Cape Cod. The record that's come out of it, entitled Climb Up is undoubtedly a reflection of the very process that made it - tying into the creative methods as well as the story of the lives of the band's members as they crafted the album. Climb Up was recorded entirely by the band in their homes. The bulk of the arrangements and mixing were authored by Bobby Jed and Michael. Drawing from a mixture of existing demos that were turned into working songs as well as full-band improvised live recordings that Bobby cut up and formed into song structures, overdubbing effects and vocals on top of them - the band ultimately chose and honed in on a final cut of 12 tracks, culled from a larger body of work. The ever-changing obtuse creative strategies of Bobby and Michael, paired with the adept musical knowledge and performance abilities of Jed and Brandon - and the diverse inspirations of all members combined to create an album that bares a fantastic dialogue between imagination and songcraft. Climb Up is wildly unique, versatile, and inarguably the bravest yet most accessible work by the band. The record is a major departure from the band's most notable predecessor, Spirit - which was completed 4 years prior. Where Spirit explored a dark world of reverberant guitars, ambient passages, and minimal, haunting vocals, Climb Up proves a bold step out of that darkness. The intricacies of this new world are depicted as if staggering from the world of Spirit into a very different, more illuminated place. Not to mention its packed with more grooves, a greater use of electronics, a range of instruments both modern and classical and – notably – a much stronger emphasis on voices and melodies. Climb Up is dense, innovative, cinematic. Apse draw from a colourful palette of different genres, techniques, instruments and approaches - and with that have made what is likely to be one of the most curious, and probably largely unexpected albums of the year. Listen, and be immersed." [label info] www.atpfestival.com/recordings.php

"In the fall of 2007, around Apse's 8th year as a band, Michael Gundlach and founding member Bobby relocated to the quiet shores of outer Cape Cod, Massachusetts and began living in virtual isolation. A few months into the move and for various reasons the 2 brooklyn based members of the band were no longer in the picture, leaving only Bobby, Michael and their faithful touring bass player / contributing member John Mordecai, living 4 hours away. Together Bobby and Michael found multi-instrumentalist Jed Armour who joined the band and introduced them to drummer Brandon Collins. Both of them highly talented musicians and long time residents of the cape, the addition of these two members greatly impacted the creative capabilities of the band as well as Bobby and Michael's understanding of - and integration into the year 'round life in the band's new home. After rigorous preparation with the new members rehearsing for an already-booked 6 week European tour that saw them performing at ATP Vs. Pitchfork and several other noteworthy dates across Europe the band returned to Cape Cod and began writing a new album. In August of 2008 during the early stages of the writing process, All Tomorrow's Parties reissued the band's 2006 Spirit to warm critical reception. Labeled as a post-rock record by some, a genre-splicing giant to others, Spin Magazine's Kenny Herzog likely put it best: "Spirit is the deathnail for the labored beast that is "post-rock," revealing the much more alluring potential that always lurked around its sinister corners." Since making Spirit - originally completed in 2006 and after releasing a number of smaller albums both before and after the ATP reissue, the band found itself ready to take on its next major endeavor. Just as a director might make respective films - changing subject matter, approach and format for each - the band was inspired to explore new means of composition, songwriting and production. Its range of members were influenced from a diverse array of art and music, life experience, fiction - and were unanimously uninfluenced by their surroundings - as there were little social distractions or creative camaraderies to be had. The bulk of this writing process then took place between the fall of 2008 and the spring of 2009. Forging the album through long days and nights in the quiet beauty of the winter months on outer Cape Cod. The record that's come out of it, entitled Climb Up is undoubtedly a reflection of the very process that made it - tying into the creative methods as well as the story of the lives of the band's members as they crafted the album. Climb Up was recorded entirely by the band in their homes. The bulk of the arrangements and mixing were authored by Bobby Jed and Michael. Drawing from a mixture of existing demos that were turned into working songs as well as full-band improvised live recordings that Bobby cut up and formed into song structures, overdubbing effects and vocals on top of them - the band ultimately chose and honed in on a final cut of 12 tracks, culled from a larger body of work. The ever-changing obtuse creative strategies of Bobby and Michael, paired with the adept musical knowledge and performance abilities of Jed and Brandon - and the diverse inspirations of all members combined to create an album that bares a fantastic dialogue between imagination and songcraft. Climb Up is wildly unique, versatile, and inarguably the bravest yet most accessible work by the band. The record is a major departure from the band's most notable predecessor, Spirit - which was completed 4 years prior. Where Spirit explored a dark world of reverberant guitars, ambient passages, and minimal, haunting vocals, Climb Up proves a bold step out of that darkness. The intricacies of this new world are depicted as if staggering from the world of Spirit into a very different, more illuminated place. Not to mention its packed with more grooves, a greater use of electronics, a range of instruments both modern and classical and – notably – a much stronger emphasis on voices and melodies. Climb Up is dense, innovative, cinematic. Apse draw from a colourful palette of different genres, techniques, instruments and approaches - and with that have made what is likely to be one of the most curious, and probably largely unexpected albums of the year. Listen, and be immersed." [label info] www.atpfestival.com/recordings.php

"It’s with great honor that present brand new material from Sweden’s most revered Ethereal / Neo Classical act, Arcana. Brainchild of Peter Bjärgö, this now legendary formation is back with a new release after 4 years of silence since their last full length album, Raspail. While 2010 saw the re-release of their first 4 albums with “The First Era” 4CD boxset, commemorating the early days of the band, we are now offered a superb follow up the their long tradition of awe filled melancholic melodies. With it’s undeniable signature sound, Peter’s years of experience as a composer and the gifted musicians and vocalists surrounding him simply shine through on these 3 new tracks. Long time fans will simply rejoice in these mesmerizing songs and new fans will in turn surely be conquered by these. This Mini CD also serves as a prelude to their upcoming full length album “As Bright As A Thousand Suns”, scheduled for a May 2012 release on Cyclic Law. 2nd Edition of 1000 copies in 4 panel eco pack. 3 Tracks. Running Time 13:33." [label info]

About two years ago, the headquarters of Glacial Movements Records was shrouded and immersed in seven ethereal soundclouds that drastically lowered the temperature by several degrees. Rome has never been colder. These sounds come directly from the Cryosphere, and represent the quintessence of the most extreme and coldest isolationism. It is the deep sidereal void that characterizes the planet's icy expansions. Nothing is known about the artist who composed these sounds. It is all completely shrouded in utter mystery. Only the signature is known: Ark Zead. There is nothing around, no reference sites, no biography and no place of origin. "Niptaktuk" the title of this album, is the first work to be published under this name. However, after several attempts and requests for more information, Alessandro Tedeschi (GM's boss and artistic director) managed to get a very brief comment from the artist: "I am a gong and Tibetan singing bowls player, interested in vibes in a very usual way. But I felt inspired when I faced the very hostile cold in Canada. I looked for stories about exploring these lands and the people who live there. I then modified my vibe sounds with computers and synthesizers to describe the state of isolationism you have to reach to enjoy the beauty of the true North." Everything ties in perfectly with GM's aesthetic. Another key element of this album is the artwork, specially made by Italian artist Lia Bosch, whose art faithfully described Ark Zead's sound. The cover image is mysterious and hermetic. It contains a deep mystery, as much as the music of "Niptaktuk." The six-panel digipack is a balance of colors ranging from gray/black to emerald green. Sleeve by Rutger Zuydervelt aka Machinefabriek and mastering by sound engineer Matteo Spinazzè Savaris. It is highly recommended to listen to "Niptaktuk" at night, in a quiet environment. https://glacialmovements.bandcamp.com/album/niptaktuk "So little has been said on this obscure and almost unidentifiable drone-based sound art project. First offer published by the emblematic Glacial Movements imprint and a perfect soundtrack to illustrate the heroic age of arctic explorations to the North Pole, following the struggle and infinitely challenging quest of pioneering men shrouded by the deep solemn silence of sovereign Nature. In this regard, check out the story of Ejnar Mikkelsen. Niptaktuk is a soundtrack about bravery, devotion, and self-awareness in meditative stillness. Scientific researches to foreign lands sometimes turn into a tremendous metaphysical and personal adventure, facing human finitude, death, and extreme life survival, this soundtrack is all about it, an ode and elegiac thrilling hymnic excursion into nebulous and highly emotional sound waves meeting the deep arcana of human consciousness. A mysteriously moving soundscaping odyssey with a solid and tragic backdrop, palpable emotions leading to a contemplative pensiveness about endurance, absolute quest and fate. Easily recommended for admireres of ambient and atmospheric music with a sense of space articulated to the majesty of Nature (in particular rugged Northern landscapes), to profound quietness and wintery melancholia. Fans of Machinefabriek, Simon Whetham, Andrea Polli, Sébastien Roux, Northumbria, and Strom Noir may find a whole sound universe to explore on Niptaktuk for their lonesome deep home listening moments. Also a perfect sonorous accompaniment while reading Beasts, Men And Gods by Ferdynand Antoni Ossendowski. [Philippe Blache, IGLOO mag]

The Mahler (in/a) Cage field recording work involves the recording, in situ, from the Casetta di composizione (Composition house) in Dobbiaco/Toblach (Bozen), of the soundscape in which Gustav Mahler composed his last works from 1909 to 1911 and in particular The Song of the Earth (Das Lied von der Erde). The recording session took place over two summer days, from July to August 2020 from 5 am onwards, in the period of the year in which Mahler himself re sided in Dobbiaco to compose at the beginning of the century. Mahler (in/a) Cage is a field recording work, a process of possible reconstruction of a hypothetical and natural soundscape, within Mahler’s music or rather his musical imaginary following some archetypal signals (e.g. cowbells, birdsongs). All this is traced back to the composition of John Cage Sculptures Musicales (1989): “Sounds lasting and leaving from different points and forming a sounding sculpture which lasts” (Marcel Duchamp). An exhibition of several (sonic sculptures), one at a time, beginning and ending “hard-edge” with respect to the surrounding “silence”, each sculpture within the same space the audience is. From one sculpture to the next, no repetition, no variation. For each a minimum of three constant sounds each in a single envelope. No limit to their number. Any lengths of lasting. Any lengths of non-formation. Acoustic and/or electronic [Peters Edition EP 67348]. Tracklist: 1. The sound of the earth: at dawn – [0:00 to 7:31] 2. Characters – [7:31 to 19:16] 3. Variant and shape of water – [19:16 to 24:41] 4. Nel mezzo – [24:41 to 34:54] ~ Dialectical Cesura 5. Zoo: animal symbolism – [34:54 to 43:39] 6. Casetta di composizione – [43:39 to 46:39] / 6A [46:39 to 49:17] ~ Subjective \ “… nervous susceptibility” 7. The long look: forever \ Ewig (A Musicall Banquet, 1610, no. 10) – [49:17 to 1:14:00] https://www.gruenrekorder.de/?page_id=18985

All recordings were recorded in 2015. There were used: sampler AKAI S1000, tape echo "Echolana", mixer Boss BX600, tape decks, broken piano, everyday and metal objects/devices, analog/digital effects, less or more known voices and urban/noise field recordings. No synths and other traditional acoustic or electronic instruments. Manifesto was written by Artur R. Sztukalski and Guillaume Toussaint (1957-2016†) in 2015. Translated by Przemek Chojnacki. Poem and other words were written by Artur R. Sztukalski. Manifesto graphic project by Grzegorz Ambroży. Limited edition of 100 hand-numbered copies. In 18 x 19 cm black box. Including 80 x 120 cm a flag with written manifesto. https://thecatcherinnoise.wordpress.com/2023/02/ "It may come as a surprise (or shock), but I was never too big into the Futurist movement. Sure, I like the art of noise manifesto as a starting point in which noise is also music, but beyond that? They are a bunch of war-loving fascists. Oke, I am overdoing it, but there are some unhealthy aspects to the whole movement (I guess not many people in Ukraine today might discuss the war in terms of a tremendous musical experience). Ars Sonitus, for one, might not agree. They use a manifesto, which may or may not be called ‘Transfuturism’. Just like the futurists, they use sounds as source material, tape decks, broken pianos, every day and metal objects/devices, analogue/digital effects, urban/noise field recordings, “less or more known voices”, sampler AKAI S1000, tape echo, mixer Boss BX600, and it’s mentioned there are no synths and other traditional acoustic or electronic instruments. So much for the information side; how does it sound? Keeping up with the spirit of the original futurists is not bad at all. There are some repeated mechanized actions from old equipment, randomly used spoken words and the sounds of a demonstration. There is quite a randomized aspect to the music here, especially in the first (and longest) piece, ‘Action Directe De La Conscience De Soi Transcendantale’. It could be an excerpt of a much longer piece or a sound installation. ‘Evoking Dasein’ is the noisiest excursion here, with some nasty sounds, again with much gratitude to nearly broken equipment. ‘The Last Breath Of A Machine’ is a very ample title for the closing statement. Machines die, too; end of noise? Quite a lovely release, and ones that come in an oversized box and a flag to wave. Is there a noise day already?" [FdW / Vital Weekly]

A CD placed between two pieces of Plexiglas (one of them, the back part, is covered with metal shavings) and attached to a wooden cross (25 x 18 cm) in black and red colors. Additionally, the publication contains a sixteen-page booklet titled "The Gospel Of Joshua (Selected Excerpts)". It mostly includes texts by Guillaume TOUSSAINT (1957-2016†) from the years 2009-2012. Additionally, according to the information included in the CD booklet, in the recordings, among others, excerpts from Olivier Messiaen's opera "Saint François d'Assise" and Richard Strauss's symphonic poem "Tod und Verklärung" were used. see also: https://thecatcherinnoise.wordpress.com/2024/06/25/transfuturistic-clearing-a-conversation-with-artur-r-sztukalski-ars-sonitus/

Unveröffentlichtes, Neues, Remixtes, Neubearbeitetes zum 25jährigen Band-Jubiläum von diversen Grössen der ReR-Family, and beyond... “Prepared over six years for our 25th Anniversary, this is a collection of specially commissioned re-mixes, re-workings and (mostly) new pieces made from the Art Bears' multi-track masters by JOHN OSWALD, THE RESIDENTS, CHRISTIAN MARCLAY, FRED FRITH, CHRIS CUTLER, BIOTA, OTOMO YOSHIHIDE/GROUND ZERO, BOB DRAKE JON ROSE, OSSATURA, WARRIC SWINNEY/KALAHARI SURFERS, WHEN, THOMAS DIMUZIO, ANNIE GOSFIELD ROGER KLEIR,ANDREA ROCCA, VITOR RUA, JOCELYN ROBERT,MUSCI/ VENOSTA/ MARIANI, MASSIMO SIMONINI, HERB HEINZ. MARTIN ARCHER, YASUSHI UTSUNOMIYA, JON LEIDECKER /WOBBLY, STEVAN KOVACS TICKMAYER andBRIAN WOODBURY - an amazing catalogue of imagination and great music, digi-packed with a cover art by EM Thomas, who did all three original art bears covers and containing Art re-mixes in the booklet as well as comprehensive information. This double also contains Collapse from the Ralph Records single, All Hail from the Recommended Sampler and one previously unreleased and unfinished track completed by Fred Frith and Chris Cutler for this CD.” [press release]

"Solaris. Sound And Vision is a collector’s edition box set, limited to 500 numbered copies worldwide, that includes the soundtrack realised by the great Russian composer Edward Artemiev for the Andrey Tarkovsky’s masterpiece film Solaris (1972). The box includes the soundtrack in two formats: LP 180gr high-quality virgin vinyl and, for the first time, CDThe release is also accompanied by an exclusive photo book with unreleased images of the movie set and essays about music and cinema of the duo Artemiev/Tarkovsky, and the BluRay version of the film, in original language with English subtitles.The collaboration between Tarkovsky and Artemiev started in conjunction with the completion of Solaris when the director was seeking for a film score capable to give back and complete, through the sound, the meaningful images of the film. Back in the day, Artemiev was a member of the legendary Experimental Studio of Electronic Music in Moscow, a place of high experimentation in the field of the electronic music, in the context of which the ANS synthesizer was conceived and employed for the first time for music composition. Invented almost ten years before by Murzin, the ANS was used by Artemiev to create the special sound atmosphere that Tarkovsky was looking for. Artemiev and Tarkovsky’s association will also extend to two other undisputed masterpieces of Tarkovsky, Mirror and Stalker that will come out some time later.A unique artistic joint-venture is that among the duo, in which the musician is seen as a sound organiser, more than a composer, within the process of giving form to a soundscape intertwined completely with the film in its unfolding: always essential and never to be experienced as an accessory element. What emerges here is how and at what degree for Tarkovsky the sound is part of his own existence. Made in collaboration with the Andrey Tarkovsky Institute, Solaris. Sound And Vision is a compelling publication for everyone who wants to dive deep into the Tarkovsky’s realm." www.songcyclerecords.com/solaris/

"Tidal zone is a fluid line between land and sea, a site of perpetual motion and metamorphoses. During 2008 - 2010 I collected a variety of sounds in coastal areas of Western and Southern Ireland and on the other side of Atlantic Ocean in Newfoundland, Canada: the remote fishing village of Conche, the ghost settlement of Crouse, and the St.Georges peninsula. I recorded underwater: crackles of decapods, dolphins, mink-whales, a breaking iceberg, a sea-otter fishing in the harbor. And on land: a wooden church crackling in the wind, engines of boats, pebble-surf, sea-gulls... all sounds and individual sequences used in the composition were recorded as-it-is. There is no other transformation than editing and mixing. Though sounds are organized in groups by the location of recordings, there is no intention to re-create an acoustic representation of the location itself. Sounds are chosen solely by morphologic associations and treated as abstractions. Recorded and composed by Slavek Kwi in July 2010 (1,2) and April/May 2011 (3,4) in Tentacles-Of-Perception Studio, Ireland." [label info] www.aufabwegen.com "Summer is slow and sometimes quite hot, certainly here in the VW-HQ. So my ventilator blows cool air in the house, which is nice, unless you are playing something like Artificial Memory Trace. The first time it was in the player, it went totally away in the soft machine breeze. But this morning the weather is a bit cooler, and I can sit down and listen to this under better circumstances. Slavek Kwi, also know as Artificial Memory Trace (and one of the few composers who still maintain their moniker, whereas others may have gone to their christian name by now) is a man who loves to work with field recordings of a rather delicate nature. The four lengthy pieces here all deal with recordings made in the tidal zone, 'the fluid line between land and sea, a site of perpetual motion and metamorphoses' and uses recordings from New Foundland and Ireland, from on land and under water. . Two pieces are stereo adaptions of multi-channel installation pieces. The cover lists specific places and things to note, like 'from pier at night (including one call of seal)'. More than before Kwi uses larger section which he puts one another, rather than overlaying them, or processing these sounds. It gives the music even more space than it did before. Maybe a holiday like feel even. This summer we don't spend time on the airplane to Newfoundland, but we stay at home and listen to Newfoundland. The two parts of that Newfoundland piece deal with sea sounds in the first part and the activities of humans in the second as well as nature events, such as a crumbling iceberg. In the piece called 'Western Island' we find at one point mechanical sounds along with high frequency bird calls, which add a weird and electronic texture to the overall composition. These four pieces are excellently, well crafted sonic trips along the sea-shore. Almost like a real holiday, but you don't have to leave the house. Almost my kind of thing, except that I actually planned a holiday." [FdW/Vital Weekly]

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

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

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

Gespenstischer & sehr dunkel glühender esoterischer dark ambient, mit leichten Folk-Einflüssen. Müsste das vierte Album der Polen sein (nach drei CDRs, die ebenfalls auf Beast of Prey erschienen). Zu entdecken für Fans des Genres! Limitiert auf 444 Exemplaren in grossformatiger Hülle. " - dark ambient with dark post-industrial rhythms - If symbol can be received by senses, then combining with a sound, how much a concept does it make? Is this something more, that can move our imagination a step forward? New album of Polish project Atum is a try in creating such images in our minds. As a guests on the album participated: INFAMIS, DEAD FACTORY i EQUUS. 47 minutes long album of strong dark ambient. Sounds, calm, and growing, pulsing create a grim atmosphere. Album diversified by rhythm loops, industrial hits and also acoustic guitar. Sounds for a Cold Meat fans, something between Desiderii Marginis and Megaptera. Unconventional release in 135mm by 150mm format, printed on a cardboard 45cm long. Folded in three parts, minimalistic graphic form with specially designed symbolics. CD mounted on a rubber dot. All foiled and hand numbered to 444 copies." [label info] www.beastofprey.com

AUME’s first album Agere Urendum Mentis Epode was described as “the soundtrack playing in my head while I’m falling through a wormhole on my way to creation… to rebirth…” Their second full release, Elemental, extended the wormhole to the visual realm through non-representational film and surround sound. Their new release CQ CQ continues to explore the abstract non-representational aural/visual realm through the use of headphones. Though the album sounds great on speakers, the immersive environment created from deep listening in headphones once again sends the listener through a visual wormhole. CQ CQ refers to the shortwave radio abbreviation for “calling any station”. This theme came about from a disillusionment created by the overwhelming amount of information being transmitted. That any individual voice falls on deaf ears in the midst of a maelstrom. That one is never more isolated than when everyone is talking at the same time. CQ CQ is full of vocal transmissions, most of which are indecipherable. They are failed attempts at communication. Those voices that are understood depict unintended mutations that lead to the disintegration of communication. Despite this, humans have the ability to adapt and resonate in the physical world. To transform isolation into a breath of silence. USB Flash Drive + Digital Album Handcrafted Box with USB and scroll. 24bit album, 16bit album, Transmission video, Transmission video Mix audio, and more. Listening Instructions 1 - Substance of choice (optional) 2 - Put on headphones 3 - Turn out the lights 4 - Lay down 5 - Hit play 6 - Enter the wormhole 7 - Regain consciousness 8 - Repeat Transmission video: youtu.be/7F5mFP9C65w Featured in the 2018 International Drone Cinema Festival produced and curated by Kim Cascone of Silent Records silentrecords.bandcamp.com Cover image: Radio transmitter of Che Guevara Photographed at the Museum of the Revolution, Cuba https://aume.bandcamp.com

AUME’s first album Agere Urendum Mentis Epode was described as “the soundtrack playing in my head while I’m falling through a wormhole on my way to creation… to rebirth…” Their second full release, Elemental, extended the wormhole to the visual realm through non-representational film and surround sound. Their new release CQ CQ continues to explore the abstract non-representational aural/visual realm through the use of headphones. Though the album sounds great on speakers, the immersive environment created from deep listening in headphones once again sends the listener through a visual wormhole. CQ CQ refers to the shortwave radio abbreviation for “calling any station”. This theme came about from a disillusionment created by the overwhelming amount of information being transmitted. That any individual voice falls on deaf ears in the midst of a maelstrom. That one is never more isolated than when everyone is talking at the same time. CQ CQ is full of vocal transmissions, most of which are indecipherable. They are failed attempts at communication. Those voices that are understood depict unintended mutations that lead to the disintegration of communication. Despite this, humans have the ability to adapt and resonate in the physical world. To transform isolation into a breath of silence. https://aume.bandcamp.com

"B°tong’s second release on Attenuation Circuit is, as the title suggests, quite atypical for the dark ambient soundscapes the Swedish-Swiss artist is best known for. In six rather short tracks, B°tong explores the sonic possibilities of digital audio manipulation of several sound sources, mainly recorded voices used as sources of pure sound, not linguistic information. The results feel somewhat like an unlikely combination of lowercase electronica and Mille Plateaux-style cuts’n’glitches and updated audio poetry in the tradition of William Burroughs, Brion Gysin, and Henri Chopin. “Un_B°tong” opens up a new direction in the artist’s work while remaining true to the spirit of experimentation with non-musical sounds that has been informing cutting edge music for about a century now, including the original practitioners of “industrial” music that have been inspiring B°tong’s work. Those with ears tuned to today’s rather limited definition of the genre as “dark” music of some sort or other may find the intellectual playfulness of B°tong’s approach on this release too lighthearted, even humorous, considering titles like “Colourful, Comfortable, Weatherproof” or the tongue-in-cheek combination of biblical quotes about the devil with the “subliminal” message “B°tong isst heimlich” (“B°tong eats secretly”) almost hidden in the cover copy. For those interested in truly contemporary audio experiments, however, this crisp little outing has a lot to offer within the space of its 18 minutes." [label info] www.wix.com/attenuationcircuit/attenuation-circuit

"science experiment as pagan ritual... Who needs representation for Bad Sector? Certainly almost no one. Since 95 year, each new album of this project it's event which is awaited by every second listener of industrial music. And now - long-awaited, CD the version, one of the most interesting albums of Italian master Massimo Magrini! First time Transponder was released as CD-r on Blade Records in 99, now the album is again accessible, in a new format and with additional, exclusive compositions of that period - "Yst" and "Waal"! More than 60 minutes dark, deep, meditative, structured noise-ambient, in the best traditions of Dolmen Factory and Ampos..." [label info] www.infinitefog.ru

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

This was the first full-length album released by Masimo Magrini as BAD SECTOR in 1995 as a CD on STAALPLAT. For the 25th anniversary of that album we are proud to go for the re-release into vinyl format of such a masterpiece. Including some bonus material of the same era. This album became an Instant-CULT immediately after its release and still truly is a masterpiece of Dark-Ambient Industrial! An album without age somehow reminding to best Psychadelic and German Space-Muzak but with his own and very tipical and inconfondible Bad Sector aproach and trade-mark. To the original recordings we added as bonus on 4th LP side 4 additional tracks from the CDr album "Transponder" released as a CDr on BLADE RECORDS. Comes on good, old black vinyl - Limited to 300 copies.

This was the first full-length album released by Masimo Magrini as BAD SECTOR in 1995 as a CD on STAALPLAT. For the 25th anniversary of that album we are proud to go for the re-release into vinyl format of such a masterpiece. Including some bonus material of the same era. This album became an Instant-CULT immediately after its release and still truly is a masterpiece of Dark-Ambient Industrial! An album without age somehow reminding to best Psychadelic and German Space-Muzak but with his own and very tipical and inconfondible Bad Sector aproach and trade-mark. To the original recordings we added as bonus on 4th LP side 4 additional tracks from the CDr album "Transponder" released as a CDr on BLADE RECORDS. Comes on good, old black vinyl - Limited to 300 copies.

format : CD ltd to 200 hand numbered copies all copies come with an additional art card on 300gr satin paper release year : 2017 length : 42’13 tracks : 1. The Pool part 1 2. The Pool part 2 3. The Pool part 3 4. The Pool part 4 5. The Pool part 5 "In the mountains near my home here in Tucson, Arizona is a place of many memories and emotions for me. Coming upon it years ago, I instantly felt a connection to the spirit of this place. To see the changes through the years as been a gift despite the grueling 12 mile ascent from the desert floor with way too much recording gear in my pack. It can be extremely quiet there at times despite the air traffic which is inevitable being so close to a major metropolitan area. The work consists of field recordings from 2011 to 2015 and attempts to convey my experiences there on many levels. In my youth I read a poem by Baudelaire entitled “Correspondences” which resonated with me greatly and I think the first two stanzas embody this place for me. All nature is one temple, the living aisles whereof Murmur in a soft language, half strange, half understood; Man wanders there as through a cabalistic wood, Aware of eyes that watch him in the leaves above. Like voices echoing in his senses from beyond Life’s watery source, and which into one voice unite, Vast as the turning planet clothed in darkness and light, So do all sounds and hues and fragrances correspond. For Sigi" [Banks Bailey] "It seems it has been a while since I last reviewed something by Banks Bailey from Arizona and even then it was usually in collaboration with others, such Adrien Shenton or Ian Holloway. As far back as Vital Weekly 834 is when I last heard him solo. Bailey uses in his music Tibetan bowls, flutes and field recordings, although of course for Unfathomless it is all about field recordings and nothing else. These were captured in the Madrona Canyon in the Rincon Mountains of Arizona. This place is connected to Bailey via a poem by Baudelaire, “Correspondences”, about nature being both common and alien to us. It is, apparently, near a metropolitan area, but there is no evidence of that captured in these five pieces. Everything here seems to be a quietness; a bit of birds, insects and the rustic sound of a mountain stream. I believe there are very little tricks applied by Bailey in this music. There is no electronic process applied in changing these sounds. The only thing that happens, so I believe, is that Bailey uses various events that might not be entirely related next to each other, and thus creates a collage out of the field recordings; it is a painting of the place with various elements and not a photo documenting it, if you catch my drift. It is not easy to think how this place looks like, but it seems all very quiet and not a very rough area. Maybe it just is a place to go, walk up and sit in quiet contemplation thinking about nature and how it is both common and alien to us. A very quiet CD but it captures a lot of beauty." [FdW/Vital Weekly]

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

SCALPEL beinhaltet vier Stücke, auf denen sich AIDAN BAKER neben seinen beliebten Endloos-Loop-Drones dem Songformat (mit sehr zurückhaltendem Gesang) annähert... das ist höchst feingliedrig, introspektiv, ausgefeilt: Akustische Magie zwischen Drone & Folk. " ... Baker has tried his hand in many different areas of music and it’s always amazing to here the outcome, as more often than not the results are excellent. There have been records that dabble more in psych, kraut, ambient, drone, and so on. However here on Scalpel, Baker has combined a familiar ambiance within his body of work with folk music for something that is loosely being dubbed as his “folk/drone” album. I really didn’t know what to make of that at first. I suppose a description like that shouldn’t be too hard to really figure out, but still it was intriguing. The album opens with the track “K” and greets the listener with the simple plucking of an acoustic guitar that as the song moves forward begins to merge into a dreamy backdrop of sound. Everything seems so incredibly delicate, which is only enhanced by the overall sparseness throughout the recording. One of the many things that I really enjoy about Scalpel however is the increased focus on Baker’s vocals, which have gradually become a part of Baker’s sound but not so much to the amount of attention that they receive here. Granted, his vocals are still very subdued, and like the music are softly spoken amongst the strumming of his guitar. The last three tracks on the album are where it really begins to take shape however, in the form of otherworldly drones, strings, and shimmering backdrops that gradually consume Baker’s vocals and guitar into many layers of beautiful sounds. And while drifting and sparse as it may be, there is still a certain feeling of warmth within it all that for me is what makes Scalpel worth many repeated listens. It couldn’t come at a better time either as winter begins to settle itself in here in the Midwest." [Built on a weak spot] www.thekorarecords.com

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

Neues Material der St. Petersburger Formation, die eine eigenständige musikalische Sprache entwickelt haben: eine trance-artig beschwörende ambient-noise-Klangalchemie mit dichten loops & hypnotischen Schichtungen, hier getragen von Mantra-ähnlichem Sprachgemurmel und pulsierenden Elementen im Untergrund, sehr intensiv und wohl mit ihr bester Release bisher!! “Cult Russian act on the cult Italian label! 2005 release from this veteran St Petersburg Dark Ambient project. Eight tracks of rumbling drones, soaring oscillations and corroded melodic patterns. Oversized packaging.“ [Punch Rec.]

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

Die Interaktions- und Energieform "IGOR POTSUKAILO (BARDOSENETICCUBE)-> KAPUTTES LAPTOP -> HOLOGRAFISCHES UNIVERSUM" manifestiert sich hier auf ungeahnte & einmalige Weise. Auf NOOSPHERE offenbart sich der "Fehler in der Maschine" in einem, in endlosen vibratohaften Wallungen und Drehungen zerfliessenden, Sphären-Drone. Der fast halluzinogene Wahrnehnmungseffekt dieses Wummerns ist absolut erstaunlich, es wird einem regelrecht schwindelig! Die Aufnahme (ein langer One-Tracker von 67 Minuten Länge) entstand in einem glücklichen Augenblick und ist nicht reproduzierbar... "Russian project BARDOSENETICCUBE is well known in Europe and USA due to numerous releases by various labels like Blade Records, Athanor, Steinklang etc. They are always open to experiments of any kind, so each new album is different and unpredictable. This particular album deals with theory of russian scientist Vladimir Vernadsky about collective consciousness, emerging from the interaction of human minds. The universe is full of endless and omnipresent information fields, different in their energy/meaning potentials. Some of them are accessible for people who are using it extensively, others are intended only for machines that seem to be their source and destination at the same time. This soundpiece is pure improvisation by Igor Potsukailo (BARDOSENETICCUBE) and a Toshiba Satellite A-110 laptop (BARDOSENETICCUBE). The laptop is the leading performer here, created by unknown system error and playing the music of solar wind, derived from the information field that is not accessible to anyone else. Igor Potsukailo uses a kind of feedback circuit, adding the elements of human presence into this music and modifying the energy/information balance in that powerful field near our planet Earth called Noosphere..." [label info]

"A new CD release is presented on the Vetvei label. It is a split of three already well-known projects: Bardoseneticcube (St.-Petersburg), Vresnit (Yaroslavl) and Kshatriy (Vsevolozhsk). Being active and variously cooperating in studios and at concerts, the authors have got a vision of joint release: this split is inspired by a condition of direct experience, transformation, sensation of a new life arrival, display and realization of nature, creativity comprehension as a natural form of being. Some tracks from each project are presented on the disk as a seven acts of creation. BARDOSENETICCUBE: Igor Potsukajlo together with Alla Ryzhenkovoj (traditional Russian vocal) and Edward Dragunov (overtone singing) have presented light Ambient with colorific electronic patterns. Songs "Za verhom" and "Golymba", opening this disk, brightly show a female, mother nature. Further the space reveals as an active man nature. VRESNIT: As a initiator of the release concept, Ilchuk Sergey has presented multilayered psychedelic Drone Ambient with a plentiful use of the field and found records, guitar and cassete drones, analog electronics. "Time is Art "," Anahata "," Creation "... two of this tracks are written down together with a spiritually close project Kshatriy. Becoming even more professional mastering engineer with each his work, Sergey Uak-Kib (KSHATRIY) in the traditional key has presented two powerful space Drone Ambient tracks, " Well of Soul " and " Intention ", showing in music an author’s experience of beauty, harmony and a resonance. A unification of the interweaving beginnings in the solemn act of the world creation. A new act of the initiating resonance and contemplation of the universal art and boundless self-similarity with open hearts. Mastering - Kshatriy. Design presented by six-panel full-colored envelope and card Vresnit & Vevei Art." [label info] www.vetvei.ohms.ru

A constellation is a construct of perspective. Unfathomable fireballs ripping apart and reconstituting atoms, separated by millions of light years in all directions, are flattened into two dimensions by the human eye. From the slightest suggestion of line and form, the mind gathers them together into objects, seeing in them figurative outlines or distinct cultural reference points. Depending on one’s geographic location and culture, these groupings and their associated imagery can vary wildly. Despite being completely outside of human time and dimension, the stars are minimized and abstracted by distance and then reconstituted by social construct. This act of mental agility serves to make some small sense of the darkness around us and to serve as a memory aid so as to keep a grip on our place in the world. As musical beings we might also wonder: What does a constellation sound like? Would we also find some meaning or a sense of place in this sound? How does a change in our observation change our reality? With his Ursae Minoris, Claudio F. Baroni does not strive to give us direct answers to these questions. He begins to employ this process of perspective transformation, aurally converting a two dimensional abstraction of stars into points on a grid and then using this ‘data’ to generate the music, which leaves the final step of recontextualizing to the performer and the audience. The title refers to the constellation Ursa Minor, which was ‘created’ by the Greeks around 600 BCE out of a portion of another constellation. In Latin and in the colloquial names in many European languages it means Lesser or Little Bear. It is commonly referred to as the Little Dipper in North America. Pointing the way to the North Star, this is one of the most important and well known constellations in the Northern Hemisphere. Ursae Minoris, meaning ‘of Ursa Minor’, is the title of this work because in this album we encounter this constellation not as a singular instance but as an evolution of multiple perspectives to ruminate upon. As our view of the stars changes with time and place, the three movements of this piece each offer a different aural interpretation. While working on his string quartet Perpetuo Motum, Baroni happened upon the diaries of Ciriaco d’Ancona (1391-1455), an Italian humanist, textile trader, and antiquarian. Within these diaries are maps of constellations that d’Ancona used to navigate at sea. He is sometimes called the ‘father of archaeology’ as he was one of the first Europeans to collect objects from ancient cultures systematically. Driven by his curiosity, he decided to depart from southern Italy across the Mediterranean to Egypt, Greece and throughout the Aegean Sea. D’Ancona relied upon Ursa Minor to locate the North Star in these travels. The score of Ursae Minoris is based upon a celestial map centered around Ursa Minor. Using a similar process to one he used in writing Perpetuo Motum, the musical material was determined by a direct ‘transcription’ of the points on this map into predefined variables such as pitch and volume, transforming the stars into musical ‘events’. With the pitch material settled, Baroni explored other musical aspects. Each movement focuses upon a specific technique of sound production. The first consists of short percussive sounds, especially those produced by tapping the metal end of the bow (called the screw) upon one of the strings. Constantly adjusting the placement of the screw and the length of the string, we are treated to a richly nuanced catalog of these tiny explosions. In the second movement, constant slow glissandi (pitch-sliding along the string) are played up and down on one of the strings as if orbiting around the gravitational pull of its neighboring string, which holds steady to one pitch. The last movement is entirely constructed of one long and shifting bowed tremolo (a shaking of the bow) resembling a trembling comet appearing out of silent space, grazing the ears with a roaring distance and disappearing back into the void. While his single-minded use of instrumental technique can be uncompromising, Baroni leaves room for spontaneity in other aspects. Continuing the journey metaphor, the score consists of variable paths from which the performer can choose whichever routes and sidetracks they fancy in the moment, rendering each performance unique. Also striking is Baroni’s use of electronics as a way to deepen and refract the natural sounds of the instrument. The subtle use of a loop station gives rise to many layers of the already existing acoustic sound world, expanding it without injecting outside influences. This leaves one quite often wondering if there is just one bassist making all that sound or if there is a sky full of them. Baroni has spent the last 10 years sounding out the depths of personal instrumental expression with his SoLo compositions. Ursae Minoris is the seventh piece in this ongoing series, each of which focuses on the unique qualities of a different instrument. Central to his process in this series is an extended collaboration with the performer to discover distinctive sounds from the instrument. He is not interested in fresh instrumental techniques for their own sake, simply to sound new or shocking, but because this is the terrain where there are more layers still to be explored. Baroni worked extensively with bassist Dario Calderone over a long period, taking time to form each movement of Ursae Minoris. Calderone’s complete commitment to this kind of music is evident in the intensity and detail of his playing. For example, in order to endure the brutal, endless tremolo of the 3rd movement, Calderone had to reinvent his bowing technique. Throughout the piece he latches onto the essence of the music and gives it a constant drive. Forget for a moment the title and all of this background information. One doesn’t need to know anything about this composition’s connection to the stars to hear the force of the music or to feel the determined searching of the exposed performer. Baroni studiously avoids making specific aesthetic or cultural references in his music. He creates a closed sound universe with its own scale and physics wherein we can surrender to being propelled through this singular abstraction. In the end we may be left to wonder: Where are the lines between natural phenomena, sound as sound, fragile and situated perception, and conscious interpretation? How much does each of us feel the urge to find some recognizable form and meaning in the sounds of these little points on a graph? Or we may just go along for the journey, leaving our mind’s universe behind. https://contemporaryseries.bandcamp.com/album/ursae- minoris

Reconfiguring the Landscape was an artistic research project investigating how 3-D electroacoustic composition and sound-art can evoke and provoke a new awareness of our outdoor sound environment. The integration of art and technology was central to the investigation that focused on sound, space, time and the utility of outdoor areas. The ideas were tested in artistic creations, and during a three-year period Natasha Barrett created a series of site-specific, outdoor sound installations. These works were installed in public spaces for durations ranging from a few days to a few months. The tracks on this CD are remixes of three installations and one two-part work that hovers in between installation and concert format. They are composed from the installation materials and unmodified site-specific recordings, and intend to capture the immersive personal listening experience of ‘being there’. https://natashabarrett.bandcamp.com/album/reconfiguring-the-landscape

On Time Out of Time is a suite of works originally commissioned for the 2017 installations 'ER=EPR' and 'Orbihedron' by artists Evelina Domnitch and Dmitry Gelfand (in collaboration with Jean-Marc Chomaz and LIGO) for the exhibition, 'Limits of Knowing' at Martin-Gropius-Bau, Berlin by curator, Isabel de Sena. These works utilize, among other things, exclusive source recordings from the interferometers of LIGO (Laser Interferometer Gravitational-Wave Observatory) capturing the sounds of the merging of two distant massive black holes, 1.3 billion years ago. The CD features two tracks: The 40-minute title track, "On Time Out of Time," as well as "4(E+D)4(ER+EPR)", a live track recorded during the aforementioned installation. The vinyl LP format features two exclusive mixes of the title track: "On Time Out of Time" on the a-side; and "On Time Out of Time (The Lovers)" on the b-side, made especially for the vinyl format.

Since the turn of this century, perhaps no other modern composition has had a more resonant healing effect than The Disintegration Loops. Composer William Basinski’s deteriorating analog tape loops evolved from melodic symphonies to melancholic silence over a span of time that uncannily turned passing minutes into pensive lifetimes. In her foreword for the new box set reissue of The Disintegration Loops, the pioneering multimedia storyteller, Laurie Anderson, describes the impact of this transformation in poetic detail: “These dissolving sounds, this emptying space, has gained my complete confidence. They are taking me somewhere. I am willingly following these sounds, becoming more and more transparent.” The Disintegration Loops – Arcadia Archive Edition is an expansive new box set that includes the entire 5-hour suite of iconic work. Newly remastered from the original recordings by Josh Bonati, the hefty package includes eight vinyl records (or four CDs for the less analog-inclined) in sturdy full-color jackets featuring the restored original artwork, and a new 1000-word foreword by Laurie Anderson – all housed in a striking heavyweight, case-wrapped box. It is the ideal encapsulation of one of the 21st Century’s most truly transcendent works. As Anderson concludes in her foreword, “this music has created another world, a world to be carried away in.” https://williambasinski.bandcamp.com/album/the-disintegration-loops-arcadia-archive-edition

Since the turn of this century, perhaps no other modern composition has had a more resonant healing effect than The Disintegration Loops. Composer William Basinski’s deteriorating analog tape loops evolved from melodic symphonies to melancholic silence over a span of time that uncannily turned passing minutes into pensive lifetimes. In her foreword for the new box set reissue of The Disintegration Loops, the pioneering multimedia storyteller, Laurie Anderson, describes the impact of this transformation in poetic detail: “These dissolving sounds, this emptying space, has gained my complete confidence. They are taking me somewhere. I am willingly following these sounds, becoming more and more transparent.” The Disintegration Loops – Arcadia Archive Edition is an expansive new box set that includes the entire 5-hour suite of iconic work. Newly remastered from the original recordings by Josh Bonati, the hefty package includes eight vinyl records (or four CDs for the less analog-inclined) in sturdy full-color jackets featuring the restored original artwork, and a new 1000-word foreword by Laurie Anderson – all housed in a striking heavyweight, case-wrapped box. It is the ideal encapsulation of one of the 21st Century’s most truly transcendent works. As Anderson concludes in her foreword, “this music has created another world, a world to be carried away in.” https://williambasinski.bandcamp.com/album/the-disintegration-loops-arcadia-archive-edition

How does an invitation to create a one minute long piece of music based on a single instrument source become a two and a half hour 3CD epic? Towards the end of 2018 Frans de Waard of Freiband was invited by a Japanese label to create an album of one-minute pieces using only the Casio VL-Tone 1. The VL-Tone is perhaps best known as being the first commercially marketed digital synthesiser, a cheap plastic instrument barely a foot in length. The idea was for each track to be a joint effort with a different collaborator from Frans’ past musical career. One of those collaborators was Steven Wilson of Bass Communion – the two over the years have recorded two 3inch CDr’s, an LP and a flexi disc. Steven had no VL Tone, but Frans sent him a few raw recorded sources made using the two that he owned. Using these, Steven quickly created five one minute pieces for consideration. One was selected for the compilation… … And that might have been the end of the story. Except that Frans suggested using the other 4 pieces as source material for further collaborative work. Subsequently, over the next few months several hours of music was generated, with each musician processing what the other would send, using both digital and analogue technology, resulting in a plethora of mixes. The only rule was that the only sound sources allowed were the original VL Tone recordings, now twisted, reshaped, and reprocessed beyond all recognition. Once the 2 musicians had decided enough was enough, the final selection was made, edited and sequenced to create the listening experience found on the first 2 discs in this set. The 4 original miniature pieces are heard both in their original form, and then processed through many transformations; from dark ambient to musique concrete collage-style pieces, from rhythmic to drone-ambient, from brief interludes to lengthy journeys. The third disc comprises additional pieces that didn’t make the main selection, but nevertheless the 2 collaborators liked them enough to include them on a bonus disc. Cover design by Carl Glover. The sleeve notes comprise a time-line conversation between Bass Communion and Freiband during this project. https://tonefloat.com/2019/11/07/bass-communion-freiband-vl-tones/

Eine Art "best of" von Solo-Stücken des "singing Martyn Bates"! Hervorragende Kollektion, die das ganze Genie des Songwriters Martyn Bates zeigen, 20 heartbreaking Songs mit seiner einmalig emotionalen Stimme, zum sterben schön! "During those 20 years, against all odds, Bates managed to shape a unique, instantly recognizable form of music - that voice! - based on a deeply rooted, 100% English folk tradition. In our opinion, he is also greatly underrated as a songwriter. In his solo work and in EIG, he has developed what can be called a style: a combination of angst (a working-class hero) and pure melancholia (time irremediably lost, the loss of idealized love), mixed in with an unconditional love of poetry (Keats, Yeats, Joyce) and authentic popular song stylings. In other words, Martyn Bates belongs to a tradition that can be traced all the way back to the troubled times of the Elizabethan era. YOUR JEWLED FOOTSTEPS journeys through made-in-England pop, folk, poetry recitation and reconstructions of songs whose origins are long forgotten. In addition to Bates' essential pieces, the collection also includes several previously unreleased tracks, including some pre-Industrial sound works predating EIG's formation, in the late '70s. Please note that on the design front, we will be introducing a new series featuring the artist in his immediate surroundings (studio, home, street, city…), in the shape of a 8 pages digipack (presenting around 20 photographs) with separate booklet reproducing all the lyrics heard on the CD." [label info] www.subrosa.net

Wiederveröffentlichung der allerersten BATES-MC von 1979, damals als MIGRAINE INDUCERS! Völlig verschieden von dem späteren Songwriting, stehen diese Sounds noch voll in der Spätsiebziger Post-Punk und Industrial-Tradition, mit rauhem low-fi Noise und Instrumental-Sounds (v.a. Gitarre & Synths), Gesangexperimenten, etc.. aber auch schon ruhigere folkige Elemente die an den späteren MARTYN BATES erinnern, mit seiner typischen Delay-Orgel und gezupfter Gitarre, sind vorhanden... 20 kurze Stücke voller freier "Anti-Musik"-Energie, die den Geist der damaligen Zeit atmet; auf der zweiten CD ein späteres Remake / Komplettierung des Tapes von 1994. "Calling yourself Migraine Inducers might not be the best route to stardom. But then, this was released in 1979 at the birth of the DIY movement, which was all about making a defiant two-finger salute to stardom. A new generation of ambitious musicians armed with total artistic freedom released their music on the then-popular cassette format thus bypassing major record companies. Martyn Bates (of later Eyeless in Gaza fame) debuted with Dissonance/Antagonistic Music, a homemade cassette full of intense nervous fragmented soundscaping, not dissimilar to Nurse With Wound or an instrumental Throbbing Gristle. When the initial 12 copies had sold out, the tape was re-released slightly more professionally over the years and now, for the first time ever, as a double CD. Sonic exploration is the heart of this beautiful, stark masterpiece, which may not be easy on the ear on first take, but gradually grows and then, when you least expect it, proves itself full of harsh beauty." [FK / Vital Weekly] www.blrrecords.com Beta-Lactam Ring Records

"Unsung – the new solo album by Martyn Bates (voice/guitar) completed September 2012 and produced by Alan Trench & Martyn Bates. Released on November 13th. 'With Unsung Martyn Bates takes on the more traditional role as a singer-songwriter, armed solely with his guitar for accompaniment, save for the occasional sparse colouring. At this time — when this particular role has been explored and done to death & beyond by long lines of both old and young musicians — one would think that there possibly could not be much to add (not that singer-songwriters generally are out on a mission to add something to the format). But as we know from the past history of Martyn Bates and Eyeless In Gaza, they do invent, they do new things, they sound fresh over and over again. So this is exciting, indeed! From initial listenings to the album, one happily fails to find anything reminiscent of the new breed of singer-songwriters that tend to sound so same-ish, even when they try to sound “alternative”, “sensuous” and “independent” suggesting the listener would be convinced that it (albeit artificially) “sounds so right”. Here, in contrast, you find someone who plays and sings as if no one has ever done any singing accompanied only by his own guitar playing before. The lyrics are thoughtful, the music is lush and different, the voice is superb and the music is respectful of the intelligence of the listener. Still the music is certainly not dull or gloomy, but spirited and infectious. I think you will agree.– Jerry Nilson" [label info] www.eyelessingaza.com/asr.html "These acoustic guitar based songs largely came from sessions relating to the Twelve Thousand Days project in which Martyn Bates collaborated with Alan Trench of Orchis in the 2000’s. Though it’s also produced by Trench , Unsung has a very different feel, and it finds Bates at his most concentrated and immediate. Bates is essentially a singer songwriter but his work in Eyeless in Gaza and other collaborations reveal he’s also adept at improvisation and manipulation of sonics. Here the latter is limited to some ambient drift and phantasmal backing vocals, which sound particularly strange on ‘’And This The Day’’. But essentially Unsung relies just on his voice and acoustic guitar, which is beautifully recorded with a big , full sound. At times his expansive picking recalls Bert Jansch or Roy Harper. As a singer-songwriter Bates has a wide stylistic lexicon, ranging from soft susurrations to notes that feel wrenched out from somewhere deep. On ‘Muted Music’, he evokes the heightened poignancy of its inevitable transience. One of the album’s loveliest melodies, ‘Caustic’ is, however, a bleak look at how memories of events can differ between two people, with the song’s narrator the one left with nothing of comfort to recall. His love of traditional music was first overtly stated on the Murder Ballads series he made with Mick Harris in the 1990’s, and the influence of Martin Carthy suggests itself here. But his own work is more in tune with the unfettered feelings that run through folk song. On Unsung, he seals his engagement with tradition on ‘’Love Came To My Door’’, an a cappella tale shaped as a disquieting visitation rather than a cause for celebration." [Mike Barnes, THE WIRE]

Lost tapes ! François BAYLE - "ELECTRUCS !" - 1974 On the occasion of the 60th anniversary of the GRM, the composer François Bayle introduces us to some of his unpublished archives : - "Electrucs !" (1974) composed on a Synthi AKS synthesizer - "Foliphonie" (1974) inspired by "La Grande Polyphonie". - "Marpège" (1995) dedicated to Bernard Parmegiani. - Also includes "Cinq dessins en rosace" (1973). Electrucs (1974) - 20'41 A1 - sophistication - 2'44 A2 - train noir - 2'17 A3 - voltage stomp - 1'48 A4 - crépuscule - 2'32 A5 - quadrille - 1'38 A6 - arpegiatto - 1'17 A7 - mélodie zèbre - 1'25 A8 - saccades - 1'50 A9 - la « chose » - 1'58 A10 - ennemi intime - 3'07 Cinq dessins en rosace (1973) - 13'41 B1- rosace 1 – 1’53 B2 - rosace 2 - 2’33 B3 - rosace 3 - 3’27 B4 - rosace 4 – 2’19 B5 - rosace 5 – 3’27 B6 - Foliphonie - 3’30 (1974) B7 - Marpège - 3’15 (1995) Born in 1932 in Tamatave (Madagascar) where he lived for 14 years, François BAYLE is a major figure of electro acoustic music and member of the historic Pierre Schaeffer's "Groupe de Recherches Musicales" (GRM) joined in Paris in 1958. In 1975, the GRM was integrated with the new Institut national de l'audiovisuel (INA) with Bayle as its head, which post he held until 1997, he brought a valuable contribution to the opening of musical research in these original innovative institutions. Ever since his first productions ( “L’expérience acoustique” 1971) François Bayle has developed through a great variety of “ formats “and designed the Acousmonium a sound diffusion system used originally by the GRM. He also originated the record series Collection Ina-Grm, organizes concerts and supports the development of technologically advanced musical instruments (Syter, Grm tools...). After leaving GRM in 1997, he founded his own electronic music studio and record label Magison. https://transversales.bandcamp.com/album/electrucs

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]

VANITAS is another semi-conscious descent into the liminal territories between contemporary composition and electronic erosion. I am still consumed by landscape, by memory, by *that* sense of longing. And I still cannot stop staring at the moon. For this release, I played many more acoustic instruments than is usual for me. Piano, guitars and bass mostly – but also a series of virtual instruments that I built for the recording; sampled wood burning stove, tuned martini glasses, e-bow autoharp, stolen French music box, loose piano string droner, and a blow torch treatment of glass sheets. I also took my first leap into sonification resulting in the opening track; Invocation, in which I programmed NASA information about a particular lunar eclipse early in the 16th century, which I mapped onto a series of 6 solfeggio frequencies. I don’t necessarily subscribe to the mystical qualities accorded to these frequencies – but there is something undeniably affecting about them. The track clears the deck s very effectively for the remainder of the recording, I think. Hopefully these exploratory excursions don’t detract too much from what should be an immersive listening experience. VANITAS will be available from May 6th on the usual digital download and streaming sites. But there is also a very limited CD run comprising 150 copies. As with previous releases, this comes in a hi-gloss, Japanese Artboard digipak. It also features a Deryk Thomas painting on the back cover which may surprise you! ~ How I wrote up Vanitas at the end of the last session. Midnight. Orchestras are tuning up in the verges of the hollow ways. I have built my own instruments from wood, antique metals and computers. I read a book about the harmonic consonance between planets – but the planets are all out of kilter. I see through holes in the past that manifest as chasms in the sky. I am so sad. I am so angry. This is my only voice. These are my only tools. I sit still. Very still. I jump in time, but I always land in the night. The beautiful night. God, I cannot tell you how much I miss the night. Yes, i meditate. It seems very obvious to me that these pieces come from that space, that place – but it doesn’t warrant any closer examination than that. Just, please, allow the seconds to decouple themselves from the minutes. Watch the hours drift up to that hole in the night sky. This recording is a monument to a certain kind of laudable failure. It is what happens when someone with no gift for programming writes scripts in Python and Max in order to consume data and make the moon and the tide sing. It’s what happens when someone with cheap tools and the ghost of a sound to realise gets out of his studio and into the workshop to make doomed instruments from all the junk in the village. It’s what happens when a man with no formal musical education takes it upon himself to score and orchestrate an ensemble. It’s where ‘I can’t do this’ meets ‘I must do this’. This is not creating something of worth from silence, this is more like recovering something once lost from the midst of a solid block of shapeless sound. The work is done. The coding is spaghetti. The instruments are broken; warped and ragged. Still, the moon sings in my ear. The machines in the studio haven’t been updated in over three hours so are obsolete. Yet Clea’s cello, formed in the year of Mozart’s birth, spins a silver thread in space and time. And so, another midnight. Wife and children sleeping. Another illustrated ruin in my hands. And under what skies? Out into the night. Close the coop, and put away the hens water. Look up. There is one word you need to find. And if you whisper the right word, it will carry beyond the dimmest star. Now, back to bed, little pilgrim." https://omnempathy.bandcamp.com/album/vanitas

"DAVID BEREZAN (*1967, Edmonton, Canada) holte sich, wie viele seiner Labelgenossen, den letzten Elektroakustikerschliff bei Jonty Harrison an der Univ. Birmingham und lehrt inzwischen selbst an der Univ. Manchester. La face cachée (IMED 0896) ist sein Debut und präsentiert 5 Stücke, die jeweils einen konkreten Anstoß, zugleich Klangquelle, nach einer ‚verborgenen Seite‘ hin erweitern. ‚Cyclo‘ (2003) kommt vom eigenen Geradel zu einer Symbolik des Kreislaufs. ‚Baoding‘ (2002) assoziiert ‚Handschmeichler‘-Kugeln mit Peking- und Kun-Oper. ‚Styal‘ (2004) belauscht die von einem Wasserrad angetriebene Quarry Bank Mill, eine Weberei in Styal südlich von Manchester, heute Industriedenkmal, einst berühmt für seine wohltätige Kinderarbeit - tja, Music to read Dickens by. ‚Hoodoos‘ (2007) führt einen auf den Hoodoo Trail im Banff National Park, zu Strukturen aus Wasser, Holz und Stein. ‚Hannibal‘ (2005) schließlich hat nicht Lecter oder Elefanten im Sinn, sondern basiert auf ‚Hannibal II‘, einer Skulptur von Jean Tinguely, speziell dem Klang einer schwingenden Kette. Berezan nimmt Details so unter die akustische Lupe, dass der Lauscher sich ganz winzig vorkommen muss, weil die Dinge brobdingnagsche und hochdramatische Züge annehmen, aber dabei auch sich seltsam gleichen." [Bad Alchemy] “Cyclo (2003)”. “Baoding (2002)”. “Styal (2004)”. “Hoodoos (2007)”. “Hannibal (2005)”. DVD-Audio stereo + MP3 files. “Of all the things I have learned about my own music, the notions of revealing and discovery seem the most essential. There are two sides of myself at work here, in co-operation, and sometimes in conflict, in the creation of the pieces presented on this disc.On the one hand, I search for sound sources that are sonically appealing, and that I connect with on a personal and tangible level, in their real world and everyday setting. On the other hand, through processes of transformation, reconstruction and imagination, I create and reveal hidden spaces, characters, and substance from those sources. Within, underneath, and behind the sound objects and concepts, there are often unexpected sound worlds in terms of detail, colour, and dynamic. For me, this multi-faceted aural-vision that twists, turns, and opens into itself is the magic of the art form. It is also through this process of discovering “the hidden side” (La face cachée) that I discover as much about myself.This disc and its music is dedicated to my parents: Jennie and Victor Berezan.” David Berezan [credits] www.empreintesdigitales.com

On this new LP, Harry Bertoia shows why he may have been the first industrial musician. Bertoia often referred to his sound sculptures as a "collaboration with industry" and on this new LP Bertoia is intentionally creating heavy, rhythmic music he described as "mechanized," "mechanical," and "factory like." This first edition is packaged in a full color sleeve with metallic inks. Mastered by Tom Eaton at Sounds & Substance. Recorded in 1971, percussion and repetition emulate the pounding rhythms of machinery on this unique pair of conceptual Bertoia compositions. Bertoia utilizes innovative performance techniques to create new sounds unheard in his ouevre. Even in the busy factory of Bertoia's mind, distant stillness rises up as Bertoia exhibits the massive amount of control he possesses over his many looming sculptures. Mechanization is just one of the many sonic directions Bertoia took while composing and recording between the late 1950s and his death in 1978. He documented all of his ideas and directions in notes accompanying the hundreds of tapes discovered in his barn. This first edition of 500 is printed using metallic inks. Bertoia's recordings are as much a celebration of sustained tones, intervallic relationships, healing vibrations, deep listening and shimmering harmonics as Indian Classical music, singing bowls, The Well Tuned Piano or Benjamin Franklin's glass armonica. Through these rich harmonics and pulsing pure tone, Bertoia was able to more clearly articulate his inner spirit than he could with sculpture alone -- a point he made himself many times in interviews. Bertoia was an obsessive composer and relentless experimenter, often working late into the night and accumulating hundreds of tapes of his best performances; his brother Oreste, too, would explore and record the sculptures' sounds during his annual visits to his brother's home in rural Pennsylvania. Learning by experimentation was common for Bertoia and he mastered the art of tape recording, turning the Sonambient barn into a sound studio with four overhead microphones hanging from the rafters in a square formation. He would experiment with overdubbing by performing along to previous recordings, sometimes backwards, constantly improving his methods while also honing his performance skills. The story of Sonambient barn collection will slowly be told through the release of recordings from the archive as well as installations and performances built from Bertoia's own recordings, lectures and a book. https://sonambient.bandcamp.com/album/mechanization-i-ii

"Format: LP, Limited Edition of 400 copies. Deluxe silver cover with silver foil design, custom inner sleeve and 4-page booklet in English and Italian. First ever vinyl release of the works by Italian maestro Mario Bertoncini, relentless experimental composer, philosopher, artist and builder of sounds. The LP presents a selection of his compositions for aeolian constructions: in the early 70s he started to produce sound aggregates, true 'sound sculptures' based on the Aeolian sound principle. Amongst his more spectacular installations there were Vele, a massive Aeolian harp (more than 7 meters high); Venti (winds), for 20 Aeolian sound generators and 40 performers; and Chanson pour Instruments à Vent, an assemblage for Aeolian harps, Aeolian gongs, and one performer. By their very nature these sound objects ("sound sculptures" that liberate the concept of sound form from time development) convey a sense of natural sounds beyond the grasp of composition and musician. Bertoncini self-built harps and gongs are excited by blows of compressed air, or by the composer's own breath, resulting in a musical blueprint that takes minimalist drone to a massive scale: the music unleashes itself. There's no sense of a composer's hand present. If at superficial levels they may sound like electronic music (long drones and swooshes of otherworldly sounds), at a close listening they reveal the intensity of a pure sound of air, far removed from both any artificial or measurable principle as well as from any casual or chance method of composition." [label info] www.die-schachtel.com

A new face in the already profound roster of Harlow MacFarlane’s (Funerary Call, Stars Without Light...) body of work, Phantom Pinnacles presents a dense Odyssey of tragic themes and long-lost moments. From the first to the last echoed fragment, Between Voices presents a fragile ambience that only exists in a reawakening memory from the forgotten corners of the mind. Vignettes of swarming synthesizers and humbled symphonies weave into off-kilter, melancholic melodies, extracted from a magnetic void of corrupted data and analog tape. Opaque sketches splinter time and distort reality into an angular, alternate state, evoking a fruitless attempt to catch a fading dream as it slips away into the dim light. The dreamer left somber and abandoned in the hiss and flutter of voices singing and shouting from a liminal fog. Brief reflections of a distant reality lived by unknown wraiths on reel-to-reel and video cassettes shudder into sustained drones and dissolving motifs. Shocks of familiarity reside in the otherworldly, but only until the disembodied return and resume their broken soundtrack. Their cries left resounding in the distance, still haunting the crackling texture, resurrected in shimmering tones and spectral scapes. Within this fading allusion, Between Voices manages to stretch sound to its limits until time itself seems to come to a delicate standstill, and all is crushed in a greying and growing expanse of transcendent, forgotten music. CD Edition of 300 copies in LP like format with sleeve, matt lamination. 9 Tracks. Running Time 35:06 Artwork by Paw Grabowski & Kevin Gan Yuen. https://cycliclaw.bandcamp.com/album/phantom-pinnacles

"Third opus by Berlin-based one-man project Bex. Originally from France, Bex has released two CDs on the French label “Le Dernier Cri” and played a great many concerts throughout Europe since his first live gig back in 2006. “Rosegger” is his first vinyl appearance, his most luminous and most intense work to date. As if emerging through some hermetic transformation from the harshness and anger of the previous albums, “Rosegger” is ablaze with a radiant, almost ecstatic mixture of joy and grief, drenched in light even in its darkest moments. Melodic guitarscapes and distant shoegaze vocals between lament and incantations pour over the listener, filling every pore, vein and cell with a warm, brittle, spellbinding emotion, taking him adrift on luminous waters which progressively darken on side B, finally drowning the incandescence into deep pools of doom drones like a glorious, achingly beautiful sunset." [label info] www.tutrur.com

"With their new full-length album "Faint" Beyond Sensory Experience are back revisiting ghosts of the past to create memories of the future. Eleven divergent studies of transformation elements result in BSE’s most complete and intriguing album to date; full of liquid dark ambient soundscapes, salient samples and entrancing melodies. Hold your breath and close your eyes, when winter turns to water, day turns to Faint. Edition of 500 copies in 4 panel digi sleeve with 12 page booklet. 11 Tracks. Running Time 60:00" [label info] "They didn’t make us wait very long for a “Modern Day Diabolists” follow-up. Along with “Faint”, we have the opportunity once again to move away from the senses under the watchful eye of Drakh and K. Meizter. And because they’re fully fledged professionals, in this case also the trip on the edge of and even beyond the human self turns out to be very fruitful. Fruitful, but somehow familiar. Our fellow Swedes have defined their specific path for quite a while, they have their own unique style and sound and are sticking to it, leaving the battering down of this already open door to younger and more hot-headed travelers. It’s an experienced project, their aforementioned style is usually recognizable after only a few sounds – “Faint” isn’t at all different. I think even woken up in the middle of the night it would take me maybe a few seconds to pinpoint whose creations are filtering from the speakers. I never meant what those two nice Swedes do as dark ambient does. Certainly, the genre’s characteristics have always been to a larger or lesser extent present on previous albums, but they were never incorporating a typical, textbook darkness with particular relish. And with each consecutive release its amount becomes lesser and lesser. On “Faint” you practically won’t find the typical background-filling drones. This role is ascribed to either a stretched echo single guitar or piano tones (just listen to “Blank”), or simply silence which operates here on the same basis as the specific sounds, instruments, field recordings or samples. I always appreciated musicians who can play with silence. As for the album’s atmosphere, I could actually copy-paste here what I wrote about “Modern Day Diabolists”. Ethereal, dreamy parts, mesmerizing in a way, sometimes serene (“Bystanders”), sometimes pulsating with a distant, uncertain threat (such as in my favorite piece, “Legacy”). Sometimes it feels as if the Swedes deliberately want to lull the listener, so that all external protective barriers are down and then hit with horror, war or apocalypse. But it never happens, though you never know what lies beyond the horizon. Calm down, you can safely turn off for those few minutes. Beyond Sensory Experience doesn’t interfere with the bliss. It only gently wags its finger at us at times, saying that “next time there’s going to be a nightmare” (“Exhausted”), and we don’t have to believe the Swedes anyway. Probably in a year or two they’ll release another album, and again we’ll allow ourselves to be seduced by those ambient spaces, a pinch of post-rock atmosphere. We’ll smoke another cigarette, listening to the yearning, aching samples spoken in different languages… Another successful, very solid release by Beyond Sensory Experience and another – which one is it already – strong position in the Cyclic Law roster." [Stark/Santa Sangre]

Siren Records is proud to release the re-mastered CD edition of "603... Annus Mundi" by Maurizio Bianchi. "603... Annus Mundi" is the second installment of M.B. CD re-issue series on Siren Records, following the first installment "Organemia" CD in 2023 (sold out). Originally released by Italian Sine3pm on download format in 2006. This re-issue CD is beautifully re-mastered by Andrew Chalk (Ferial Confine, Organum, ORA, Elodie, Mirror) and comes with a liner-notes sheet written by M.B.

5 tracks, professionally printed. Exciting tension-bath, deranged synth sounds, rough drones, pulses, microwaves, this is how ambient industrial should sound today. For a BIANCHI release this is highly chaotic and versatile, raw & dark! "Estranging sounds complex in five unusual recordings, edited and assembled in an alienor period of two years. Fantastic collaborative work; file under: experimental, concrete music, deep dark noise ambient.Limited to 700 copies only. Format: special professional silver CDr (= same quality and “look” of a CD) in beautiful digi-sleeve package. Maurizio Bianchi: tapes, radio waves, electronics, samples. Claudio Rocchetti: dusty analog devices. Mastered by Valerio Tricoli. Preface: A DANGEROUS TERMINAL DRAMA UNDER THE ACTUAL IMPROPER REVENUE OF ALIENATION WASTE, OF SOCIAL-CULTURAL SPHERISTERION, WHEN THE MAIN ELECTRONIC TOPICS IN THE VAN OF SHIFTLESS ACCESSORIES WAS PLANNED AS RESTRICTIVE SCULPTURES. THE VIOLATED ACTIVITIES, GRINDED OF THE EMBRYONIC INGREDIENTS REMAINED BETWEEN EXISTENTIAL INDIVIDUALISM AND TRANSFORMATION OF PARASITES WORTH, VISITING A RECREATIONAL ESTRANGEMENT. THE GRAVITATIONAL PEOPLE REMAIN INTERESTED WITH ELEMENTS OF PICTURED INTERIORS INSIDE A REFINED CRUELTY... THE BEST RESULTS ARE A DETERIORATION OF EDUCATION SYSTEM, THE ANALYSIS OF VARIOUS RETICULATED METROPOLIS, IN FRONT OF THE IMPURE HUMANIZATION OF INNOVATOR PROCESSES. THE PARTICULAR USE OF FANCIFUL CONCRETE-TONES LEAVE YOU WITH A GREAT IMPRESSION OF CHROMATIC CONSISTENCY, FAR AWAY FROM BUREAUCRATIC AND COMMERCIAL MORBIDITY." [label info] www.finalmuzik.com

Das Schwester-Album zu "Erimos" verknüpft melodische und mitunter fast andächtige Instrumentalklänge der italienischen Post-Rock Band SPARKLE IN GREY mit den z.T. obskuren Geräuschsounds von M.B. - das klingt manchmal dann fast nach GODSPEED oder anderen Post-Rock / Psychedelikern, sehr introvertiert und ruhig mit viel Violin-Einsatz... Namensgeber für die 8 Stücke sind Bezeichnungen verschiedener Wolkenformationen, sehr passend !! "Nefelodhis album was then recorded in few days in a totally improvised session where Sparkle in Grey, the ensemble of Alberto Carozzi (guitar, bass), Cristiano Lupo (piano, guitar, drums), Franz Krostopovic (violin) and Hue (laptop, objects), played melancholic melodies on the mysterious analogical and a-rhythmical soundscapes provided by MB. The results of these sessions, recorded into the factory where Sparkle in Grey are used to have their rehearsal, was assembled and mixed by Hue himself. As the sounds coming from MB were mainly analogical (treated guitars, DVD players, tapes and other unknown instruments), and as the laptop was used only in the mixing phase, the result is a dirty but very analogical mixture of sounds, where the concrete drony noises and the textures of violins and guitars melt in a quite uncommon way. Nefelodhis is a desperate but dreamy picture in sounds of the concept of clouds (in Greek 'Nefelodhis' means 'cloudiness') and, after the careful mastering of Giuseppe Ielasi, sounds like a trip through the wet lands made of vapor. Being part of a complex quadrilogy about the spaces Between the Elements, this records inaugurate a series of CDs of various experimental sounds, where Erimos (in Greek “Desert” is the second chapter, already available on the American label Digitalis Industries." [label info] www.freakofnature.it/coldcurrentprod

Dunkle, spröde, klinisch-kühle Elektronik, effektierte Pianosounds; die erste Zusammenarbeit von M.B. mit TH26, inklusive der Stimme des kürzlich verstorbenen ROBERT ANTON WILSON !! "After the "A M.B. Iehn Tale" release (CD - SmallVoices 2005) for the first time Maurizio Bianchi meets TH26, historical Italian project in dark electronics. After their first official release ("La Haine" CD - SmallVoices 2002) they are now back with this amazing cooperation. For this release TH26 leaves their usual rhythmical attitude, in perfect symbiosis with Maurizio Bianchi, the "father" of Italian industrial music. This work presents deep obscure minimal soundscapes, moving in the fields of dark ambient music. Arkaeo Planum is a long deep 5 tracks trip through 5 interlinked themes (Aereo, Arkaeo, Audio, Caro e TerraPlanum) togheter with a single special track titled MB Sorrow (dedicated to Maurizio Bianchi) as final sadly sequence of melting melody. Sound textures with piano incursions and samples, properly treated by M.B., involved in a magmatic and dark isolationist sonority, made by Th26." [label description] "Antique phagocytic cells in a profound knowledge of changing habits, electromagnetic science and moribund identities, enter in contact with vertebrate contemporary abstractions. It's the unequivocal and consecrating action of the foetal twenty-first century servant, a laborious period of the cement bloodstream museums where archaic purposes have gathered together a stimulating selection of "planum" relationship. The compressed and specific hormonal aim of this provocative work, "Arkaeo Planum", is to illuminate the entire febrile dream of some unscrupulous sadness; a constant affection of soared talents in this synthetic journey to penalize the closed culture nightmare. The question asked is: are we intentionally communicating or developping some unique opportunities? The transformation process is facilitating the indecent massive infrastructures of the industrial soundscapes, nearly the neutronic unimaginable..." (Maurizio Bianchi)

"Underground is a difficult term. Perhaps its best defined as Do It Yourself. Not looking for the next record deal, or moving from CDRs to CDs and never wanting to do CDRs again. That sort of attitude. If one band live up to that, then today my choice would be Big City Orchestra. They have been around for ages, releasing on all formats the world of music saw, but never gained 'fame' in any way. And perhaps that's good. Let's have them underground, with us. Here for instance is a new CD by Das, the master mind behind Big City Orchestra since the beginning, but also members like Cliff Neighbours, Ninah Pixie, Univac, Jonathan Segal, Melissa Margolis and as a special guest David Aellen of Gong fame. Although Big City Orchestra was never fixed into one musical genre, there is, throughout the years an overall idea to be noted. Roughly somewhere in the grey area of ambient music, drone, narrative music and perhaps all touched with a sense of psychedelic music. These six new pieces here sum up this very well. No doubt largely conceived in the world of warm, analogue synthesizers and guitars with lots of effects. The result is an eerie (sorry, couldn't help that one), desolate sound piece with very slow, minimal shifts. Maybe to some extent they still sound the same as back in 1987 when they released cassettes, but luckily it sounds much richer now on CD. The underground is not about sticking to hissy cassettes out of some perverse love of retro, but finding the best ways to express yourself, without keeping any notion about the overground. In that respect to people who want to hear a band develop, then Big City Orchestra might be the wrong place to turn to, but I think this is great music. Mood music, dark night, late night music. Music that has not been made to please the big crowd, but a small but caring community of truly devoted fans. I may not be one, simply because I don't have everything they made, I certainly rank myself as someone who is always keen to anything new by them. 'Eerily' is a great CD." [FdW / Vital Weekly] "One of the most idiosyncratic and original groups of the past two decades, BCO is not your standard Orchestra. Situated in the greater San Francisco Bay Area, the band has released an enormous catalog of recorded material over the past two decades. Formed in the late 1970's the ensemble continues to maintain a free-flowing roster of artists from around the world that collaborate on specific projects. Categorizing the Orchestra into any given genre can be a task, as releases continue to surprise even the most devout listener. There is never any way to precisely classify the next BCO release. Featuring original members and introducing special guests such as Daevid Allen (of Gong fame) and Jonathan Segel (Camper Van Beethoven) BCO 'Eerily' tracklist : 1. Garuda 2. Mister Jones 3. Protectionraga 4. Zhong Kui 5. Pink Swirl 6. Chnubis 7" cover including a unique silkscreened inlay produced by the members of BCO/Ubuibi." [label info] www.eetapes.be

"Dropsonde was originally released by Touch (UK) in 2006. This is a reissue with seven previously unreleased recordings. Widely regarded as one of Norwegian electronic music's most important artists, Biosphere's [Geir Jenssen] career spans nearly two decades, several albums, lots of remixes, various sound installations, commissions, soundtracks and even the odd Himalayan summit. You may recognise his work without knowing it, so frequently does it crop up on TV trailers and idents. In the early 1990s he was a pioneer of so-called 'Ambient Techno', but since then, he has refined his sound into something more magnetic and enduring. Dropsonde' isn't a soundtrack like the interwoven 'Substrata' nor an episodic journey in the way that 'Autour de la Lune' is. Here Geir Jenssen is pushing new directions towards the jazz colours of Miles Davis and Jon Hassell, whilst re-invigorating the pulse and projection of his signature sound: a hypnotic combination of pleasure and dread. The spatial aspects some have dubbed "Arctic sound" but it summons strong feelings, or as Exclaim from Canada put it, "in order to climb higher, you must first go deeper". Jon Savage adds: "As with all of the Biosphere albums, the music draws you in and makes you want to listen and feel. Jenssen's work acts on a very emotional level, one that encourages you to drift away into a haze of images and scenes brought to you by the music, where spectacular beauty hides unseen danger. Intense and moving, but comforting and soothing at the same time." [A 'dropsonde' is a weather reconnaissance device designed to be dropped from an airplane or similar craft at altitude to take telemetry as it falls to the ground. It typically relays information to a computer in the dropping airplane by radio. The fall may be slowed by a parachute. Information collected by a typical dropsonde may include wind speed, temperature, humidity, and atmospheric pressure.] https://biosphere.bandcamp.com/album/dropsonde-reissue-with-bonus-album

"Dropsonde was originally released by Touch (UK) in 2006. This is a reissue with seven previously unreleased recordings. Widely regarded as one of Norwegian electronic music's most important artists, Biosphere's [Geir Jenssen] career spans nearly two decades, several albums, lots of remixes, various sound installations, commissions, soundtracks and even the odd Himalayan summit. You may recognise his work without knowing it, so frequently does it crop up on TV trailers and idents. In the early 1990s he was a pioneer of so-called 'Ambient Techno', but since then, he has refined his sound into something more magnetic and enduring. Dropsonde' isn't a soundtrack like the interwoven 'Substrata' nor an episodic journey in the way that 'Autour de la Lune' is. Here Geir Jenssen is pushing new directions towards the jazz colours of Miles Davis and Jon Hassell, whilst re-invigorating the pulse and projection of his signature sound: a hypnotic combination of pleasure and dread. The spatial aspects some have dubbed "Arctic sound" but it summons strong feelings, or as Exclaim from Canada put it, "in order to climb higher, you must first go deeper". Jon Savage adds: "As with all of the Biosphere albums, the music draws you in and makes you want to listen and feel. Jenssen's work acts on a very emotional level, one that encourages you to drift away into a haze of images and scenes brought to you by the music, where spectacular beauty hides unseen danger. Intense and moving, but comforting and soothing at the same time." [A 'dropsonde' is a weather reconnaissance device designed to be dropped from an airplane or similar craft at altitude to take telemetry as it falls to the ground. It typically relays information to a computer in the dropping airplane by radio. The fall may be slowed by a parachute. Information collected by a typical dropsonde may include wind speed, temperature, humidity, and atmospheric pressure.] https://biosphere.bandcamp.com/album/dropsonde-reissue-with-bonus-album

"Geir Jenssen writes: Early February 2011: Decided to make an album inspired by the Japanese post-war economic miracle. While searching for more information I found an old photo of the Mihama nuclear plant. The fact that this futuristic-looking plant was situated in such a beautiful spot so close to the sea made me curious. Are they safe when it comes to earthquakes and tsunamis? Further reading revealed that many of these plants are situated in earthquake-prone areas, some of them are even located next to shores that had been hit in the past by tsunamis. A photo of Mihama made me narrow down my focus only to Japanese nuclear plants. I wanted to make a soundtrack to some of them, concentrating on the architecture, design and localizations, but also questioning the potential radiation danger (a cooling system being destroyed by a landslide or earthquake, etc). As the head of the Nuclear and Industrial Safety Agency said: the plants were so well designed that 'such a situation is practically impossible'. The album was finished on February 13th. On March 17th I received the following message from a Facebook friend: 'Geir, some time ago you asked people for a photo of a Japanese nuclear powerplant. Is this going to be the sleeve of your new coming album? But more importantly: how did you actually predict the future? Kind regards, David." [label info] "Obviously we have to believe Geir Jenssen when he writes that in February he decided to make an album about Japanese post-war economic miracle, found a picture of a nuclear power plant, and wondered why so many are close to the sea, and what would happen if a tsunami would sweep the land? We know the answer by now. I assume Jenssen didn't make this story up as good line to sell a CD. Its been a while since we last heard Biosphere, a new work that is, as 'Patashnik' is still an ipod favorite here, and a work that breaks away, it seems, with the more recent ambient works. 'N-Plants' sees a return to the world of rhythm and that makes this quite a remarkable work. Biosphere going back to the world of dance music, although its hard to imagine people actually dancing to this. But if my crystal ball gazing is right, ambient house is soon to be on a revival trip, following the recent explosion in cosmic music, and then Biosphere can't do wrong. He plays here with the elements of cosmic music and adds nice minimalist beats to it. Loops of keyboard sounds, spiced with 4/4 minimal beats (more Cologne than Berlin) as well as layered drones of what might be more keyboards, or heavily processed field recordings, make up some great music, returning to his earlier music, but expanding it. Out are the voice samples, the beats are reduced to the bare minimum, the ambience is more to the foreground, making this another essential Biosphere record." [FdW/Vital Weekly]

"Gut zwei Jahre nach „Cape Flyaway“ meldet sich das amerikanische Avant-Rock-Kollektiv BIOTA mit einem neuen Album zurück. „Funnel To A Thread“ erscheint als CD auf RER. Seit ihrer Gründung 1979 (unter dem Namen MNEMONIST ORCHESTRA, später MNEMONISTS) beglücken BIOTA ihre weltweite, treu ergebene Fan-Schar mit in unregelmäßigen Abständen erscheinenden Alben, die stets als Gesamtkunstwerke aus Musik und Artwork zu verstehen sind. So vielseitig wie die musikalischen Einflüsse ist auch das Instrumentarium der elfköpfigen Formation: elektrische und akustische Gitarren, Hammond-Orgel, Micromoog, Trompete, Geigen, Bass, Akkordeon, Klavier, Percussion und gelegentlich Gesang schichten sich zu frei fl ießenden, kollagenartigen Songs, wobei Folk-Elemente als Leitmotiv dienen. BIOTA kreieren ihre ganz eigene Musikform, in der Zeit als dauerhaftes Kontinuum erscheint und nicht als stringente Abfolge von Ereignissen - experimentelle Psychedelia der ganz besonderen Art. Kristianne Gale: voice, strumstick; James Gardner: trumpet, kim; Tom Katsimpalis: electric, nylon, 12-string guitars, Crown bass, Clavioline, zither; Randy Miotke: Rhodes, trumpet, flutes; Charles O’Meara: piano; Mark Piersel: resophonic guitar, editing; William Sharp: mix, editing, electronic processing; Gordon Whitlow: Hammond electric & Estey pump organs, accordion, kaen, autoharp; Larry Wilson: kit drums, percussion, ranat, xylophone; Randy Yeates: Biomellodrone keyboard, Roland Space Echo; David Zekman: violin, mandolin, banjolin Since the late 1970s Biota has ploughed its own furrow, producing a body of work that resembles nothing anyone else has done or is yet doing. Their compositions evolve in long, constantly shifting timbral blocks filled with fragments and echoes of quasi-familiar musical languages. They use instrumental resources bridging half a millennium and two thirds of the planet to create unique combinations of texture, colour and movement. It’s a music of constant flux, dissolving, re-forming and mutating without agitation or stress, where motion and stasis blend into a single ambiguous condition. And although it will never arrive, the path, with its simultaneous familiarity and strangeness has an eerie power to compel. The recordings, as always from the Dys Studio, are meticulous and carefully constructed - the fused product of generation after generation of processing and mixing. There’s an almost Feldmanesque quality of necessity and unpredictabilty. The band now takes, on average, five years to prepare, record and finalise a new release. They’re in no hurry. BIOTA Founded in Colorado in the late 1970s, Biota's first recordings were released under the name of the Mnemonist Orchestra which, between 1980 and 1984, released five albums on its own label, before linking up with ReR in1984. That was also the year in which they split into an independent visual arts collective - which retained the Mnemonist name - and the recording project, Biota. Since which time, their releases have presented the work of both groups in tandem." [label info] www.rermegacorp.com "We should have known better. If Biota decide to come out with a new CD after “just” three years instead of leaving us to wait for the large part of a decade as always, the occurrence is presumably concealing specific implications. As if they were anxious of re-establishing a connection with preceding issues without losing the grip on the chain of circumstantial matters that originates the current visions. So here we are, celebrating Funnel To A Thread as a foundational chapter in the collective’s history, possibly standing among their all-time best if such prosaicness makes sense. But maybe – just maybe – this will encourage at least a portion of the populations still shamefully unfamiliar with the subject to ultimately deepen it. Let me be straight. Someone as, say, The Residents have managed to reach cult status via marketable mysteries and a body of work which, in terms of musical depth, is mainly insignificant. What are Biota to do – besides producing beautiful, fulfilling, seriously groundbreaking albums accompanied by jaw-dropping artworks – to be formally welcomed in the elite of veritable contemporary innovators? The connoisseur will never cease to fight against the ignorance surrounding this rewarding acoustic macrocosm. A place where past, present and future are literally embraced by the same kind of emotional reverberation. Where conscious species of listeners inevitably find answers to essential questions that appeared impossible to decode before. Where a concatenation of short episodes streaming without solution of continuity leads through a lifetime of intuitions that had been kept for ourselves to date, and now – at last – we can stamp as “right”, not really caring about sharing them. These people produce sounds that naturally regulate our synchronous response to a physical energy directly connected with what the trade brands as “cosmic vibe”, in spite of an external appearance often relating to finely aging forms of folk expression. How they manage to do this remains an enigma. Twenty-one tracks conscientiously played and painstakingly assembled, rooted in clearly perceptible influences, morphing as clouds in an autumn sky. Katsimpalis and Piersel’s guitars are a conspicuously driving presence, textbooks of heartfelt arpeggios and bucolic phrases which made me consider the bygone existence of a John Fahey / Neil Young hybrid. Gale’s vocal shards appear suddenly to instantly run away, a grace too shy to be evaluated. Whitlow’s accordion scientifically places signposts of reassurance when things seem to turn towards a mild turbulence. Zekman’s violin tells of the inevitability of a goodbye, minus the tears. O’Meara’s pianistic interventions are simple and unresolved at once, magniloquence removed from the vocabulary. Sharp’s typically masterful hands and ears exalt details that usually stay unnoticed, the audio landscape disclosing a palette of ineffable amorphousness around precisely defined arrangements and spatializations, more than anywhere else in the band’s recorded output. Mixing skills that nobody knows, except those who smile instinctively hearing words like “Tumble” or “Tinct”. Favorites? Quite absurd to ask: a Biota album is, by definition, a whole movie. However, in truth there are scenes that linger on; were this writer forced to choose with a gun pointed at his temple, the transition between “Understory” and “Numberless Years” might liquefy a hardened heart at any given moment. Biota is an entity that attributes fresh meanings to the concept of altruism, for this music is a richness for anybody willing to dive in. An unpretentious assertion of confidence surrounded by colors conveying humanity and nostalgia, with an unremitting focus on clever ways to distil sonic significance from the forthcoming." [Massimo Ricci / touching extremes]

After 4 years of work on their 11th release for ReR, this extraordinary, reclusive, and highly individual audio-visual collective continues to evolve through the painstaking accumulation and disposition of a seemingly incompatible range of both exotic and familiar musical languages, instruments, techniques and studio manipulations into one of the few genuinely original bands at work today. It took a long time to refine their unique process of composition to this level of ambiguity and depth and newcomers will wonder how they strayed so far from orthodoxy and yet managed to retain a lucidity and transparency that is quite rare in contemporary music. Timeless, almost weightless - yet teeming with life, motion and complexity - this is a music that suggests an untroubled world in which nostalgia, tragedy and agon, while rudely present, remain subservient to deeper, calmer currents. Sic transit gloria mundi. The bullet points are that Biota is a unique project, defying genre with, like all such cult artists, a small but extremely dedicated public that, over the last 15 years has grown continuously as new listeners discover them. BIOTA Founded in Colorado in the late 1970s, Biota's first recordings were released under the name of the Mnemonist Orchestra who, between 1980 and 1984, released five albums on its own label, before linking up with ReR in 1984. That was also the year in which they split into an independent visual arts collective - retaining the Mnemonist name - and the recording project, Biota. Since then, their releases have presented the work of both groups in tandem. http://biotamusic.com/ https://biota.bandcamp.com/album/fragment-for-balance "Für ihren 11ten bei Recommended Records (oder ReR Megacorp) veröffentlichen Tonträger (EP, LP oder CD) haben sich Biota aus Fort Collins in Colorado wieder etwas mehr Zeit gelassen. Nachdem 2014 "Funnel to a Thread" erschienen war, legte man erst einmal eine längere Pause ein, um dann vom Frühjahr 2016 bis in den Herbst 2018 hinein das neue Album einzuspielen. Das Ergebnis - "Fragment for Balance" - wurde schließlich im Frühling 2019 veröffentlicht. Das Album kommt in einem bunten Digipack, versehen mit einem dicken Beiheft voller expressionistisch-tiefsinniger Bilderwerke. Die ersten 150 Exemplare beinhalten - wenn man direkt beim Label bestellt - zudem einen kleinen Pappschuber, in dem ein originale, von Tom Katsimpalis gestaltete Bildcollage steckt. Sehr edel! Offenhörlich haben Biota ihren Stil gefunden, bewegt sich doch die auf "Fragment for Balance" zu findende Musik in sehr ähnlichen Gefilden, wie die des direkten Vorgängers. Die Besetzung ist zudem identisch. Allerdings scheint mir "Fragment for Balance" etwas homogener und klangvoller voran zu fließen. Eine recht eigenartige folkig-elektronische Kammermusik gibt es auf "Fragment for Balance" zu hören, oder einen seltsamen elektronisch-kammermusikalischen Avant-Folk, bestimmt von filigranem Akustikgitarrengeschrammel, Violinenklängen, allerlei Blaswerk, analog-elektronischen Tastensounds, Piano, Harmonium, Akkordeon und diverser Perkussion. Deren Tonerzeugnisse werden (teilweise effektverfremdet) mit verschiedensten Elektronikgebilden, komplexen Tonskulpturen und prozessierten Klangfragmenten unterlegt, bzw. von diesen verwoben, so dass sich das Album als lange und vielteilige, elektronisch-akustische Suite voran arbeitet, bei der die einzelnen Nummern ineinander übergehen. Über all dem schwebt Kristianne Gales wunderbarer, gälisch-folkiger und ätherisch-luftiger Gesang. Im Vergleich zu früheren Alben, insbesondere denen aus den 80er- und 90er-Jahren des letzten Jahrhunderts, ist die rezentere Musik von Biota eher ruhig, fast sanft gehalten, wobei dieselbe immer ausgesprochen unkonventionell dahin gleitet. Dies trifft auch auf "Fragment for Balance" zu, welches stilistisch Folk, experimentelle Elektronik, moderne Kammermusik und eine Art von Avantrock zu einem dichten, sehr homogenen und seltsam gewichtslosen Ganzen vereinigt. Sorgfältig geplant und komponiert arbeitet sich die Musik voran, dissonant aber friedlich, gleichzeitig erstaunlich harmonisch, rund und vertraut, dann aber wieder sperrig und ausgesprochen fremdartig. E-Gitarre, Bass und Schlagzeug sorgen dafür, dass es immer mal wieder rockt, doch arbeitet sich der Großteil der Musik eher formlos voran, ohne aber auf Struktur und Zielstrebigkeit zu verzichten. Momente unglaublicher, fast absurder Schönheit wechseln sich mit schrägem Plingen und Hallen ab, mit voluminös-symphonischen Tonschüben, wolkigen Klanggebilden, akustisch-kammermusikalischen Abschnitten, dynamischen RIO-Prog-Momentaufnahmen, repetitiv-minimalistischen Exkursen und wirren Tondurcheinandern. Chris Cutler bezeichnet Biota als eine der 'few genuinely original bands at work today', und dem möchte ich durchaus zustimmen. So wie Biota klingt derzeit keine andere Band auf dieser Welt. Wer progressive Musik in einem folkig-elektronisch-freiformatigen Kontext schätzt, der sollte "Fragment for Balance" (und "Funnel to a Thread") kennen." [Achim Breiling / Babyblaue Seiten] "As obvious as this may sound, the years run way faster as one grows older. When Biota announced the release of Fragment For Balance, my delight in receiving a new bulletin from the collective “after not so long” was soon replaced by the mild shock of realizing that their previous outing Funnel To A Thread had been published in 2014. I wasn’t paying attention to all those months flying away (to paraphrase another title from the group’s discography). Even worse, this period was rendered heavier by two major losses in Biota’s universe. In 2015, visual artist Joy Ann Froding left this planet following the successful surfing of an ocean wave; in 2018, multi-instrumentalist Charles “Chuck” O’Meara (formerly Vrtacek) suffered a heart attack while he was cutting wood to warm his winter. In the sadness, it is somewhat relieving to note the natural ambience of these occurrences, presuming that Froding and O’Meara were in a comfortable place inside when the call from nowhere came. The album is dedicated to them, and the artwork commemorating the pair on the accompanying booklet – a flower and a bird embedded in unique Mnemonists shades – nearly caused this writer’s tired eyes to well up. That ear-gracing piano inevitably puts the soul in “still here with us” mode; Chuck was, and forever will be, a certified Biot. Every single snippet of the multitude of sketches, proposals and fully fledged visions represents a piece of fertile ground for sensible roots. Yet the process of absorption doesn’t really happen through the listener’s mind, exploiting instead the most unconventional features of sympathetic resonance. There’s always been a touch of magic in William Sharp’s slight defacement of arrangement and equalization, be it a chiaroscuro of off-key echoes or the enhancement of quietly intertwining arpeggios. Throughout the 26 (!) consecutive tracks comprised by the program – duration from 0’38” to 9’48” – the achievement of a flawless amalgamation of tunings, melodic intelligibility and aural daydreaming remains at the core. The instruments shine brighter than ever, with particular regard to guitars (Tom Katsimpalis and Mark Piersel) and violin (David Zekman). They seem to trace coordinates and paths to places of blinding light amidst the hand-woven textural patchworks and gentle superimpositions informing the orchestration. Apropos of that, flashes of enlightenment are born from the melting of a larger number of voices (including Kristianne Gale’s apparitions, a singing mermaid in a sea of wistful refractions). Keyboard constructions totally deprived of preset futility lie at the basis of revealing harmonic disseminations, Gordon Whitlow’s accordion and Hammond organ strengthening the sonic tissue with typical wisdom. Also notable is the role of Randy Miotke, his trumpet and flugelhorn supporting the contrapuntal constitution, and its various transmutations. Larry Wilson’s drums emerge in unexpected spots, attributing hues of temporal non-existence to otherwise regular rhythmic cells. And so on and so forth, one would have to conclude. It’s been decades by now, yet attempting to describe the essences emanated by Biota’s garden still makes me feel stupid, or useless, or both. Nevertheless, the sensation of understanding a little morsel every time – of the music itself, of the fight against big-mouthed superficiality, of the painful impossibility of communicating with lesser levels of perception – is incomparable. In less than ten minutes, a track like “Walking Is Missing” teaches much more than the millions of words spewed by cretins most everywhere. When that packet from Colorado materializes, my gradually greying beard doesn’t matter anymore. All it takes is sniffing the cover’s scent, observing once again the profound art of human beings who do not accept commands, or foolish indications, by anyone. And, of course, spinning the disc without putting the finger on the whys and the whos. Just intuiting the actual reasons of aliveness, and envisioning our future merging with the meaningful consequences of the acoustic laws. Or, as good ol’ Chuck would have it, “learning to be silent”." [Massimo Ricci]

“With more than 30 releases and several successful projects since the 1980s, Henrik Nordvargr Björkk is far from being an unknown entity. An experienced and versatile modern Swedish musician, who has already achieved an international cult status with his long-term industrial formation MZ.412, now reinvents himself once again with “I End Forever” and places his outstanding composition skills into the new millenium. Gone are the times of aggressive industrial and noise assaults, replaced by his capability as a composer of finest contemporary electronica. Henrik now works in an entirely new territory of his musical career and presents an album that blends ambient textures into restless electronics and vice versa. “I End Forever” is a crossbreed of various influences: Modern electronica, digital click ‘n’ glitch manipulation, broken rhythm and beat patterns and soft shifting ambient textures. An album that works perfectly in multiple environments and unites a broad range of listeners. This enhanced CD comes in quality digipak format, exclusively designed with photographs by French artist Jean-Sébastien Rossbach (The Living Rope), and features a bonus video clip of “Patterns Emerging 1” by Maximilian Jänicke (Raw Image).” [press release]

“A Golden Thread: The Three Fates” is the alchemical collaboration between the french dark electronic project Black Egg (featuring Ushersan from the legendary cold wave band Norma Loy and his partner Ymaltzin on vocals) and the ritual ambient entity Alone In The Hollow Garden, one of the many creative manifestations of Dan Serbanescu. Themed around the Three Fates - Clotho, Lachesis & Atropos, the current EP is offering to the listener an unique esoteric mix of darkwave & ritual ambient, where synthesizers and drum machines merge naturally with acoustic ritual instruments, bells, sitar, piezo devices, metal percussion, magick samples & resonant female vocals in french language. https://zazensounds.bandcamp.com/album/zzs-062-alone-in-the-hollow-garden-black-egg-a-golden-thread-the-three-fatesavailable-now-as-digi-format-sold-out-high-quality-digital-download

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]

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]

"since the time i came across ‘romance’ LP (on korm plastics, netherlands) and the ‘two women’ tape (on sph, spain) almost 20 years ago fell in love with the work of blackhumour, and his simple but Immersive way of playing with the human voice (be it found sound or recorded by himself), its transformation and the way he perceived his universe and his approach. in ‘selected pieces’ we find recordings done mostly in the 00’s culled from his archives for this release showing in almost the best way his sound in various manifestations (be it harsh, bizarre or mesmerizing like the ‘incantatory’ piece based upon the sounds of a hypno-dominatrix). and couldn’t find a better release to coincide with the outbreak of my new fanzine ‘emvoes’. housed in a foldout poster this release can be seen either as a cd, an audiopostcard, an audiozine or whatever situation the listener wants to find himself into…" [label info] blog.noise-below.org "probably one of the more curious careers in music: blackhumour, who spells it without capitals, like any thing he writes really. so we humour him with this review without capitals. curious career, since in the late 80s he was active on the cassette scene, released a lp even, and then seemed to have disappeared and releases have become more sparse since then. what i enjoyed back then about the music of blackhumour was the consistent use of only voice material, which he cut into loops and layered them together, very much like steve reich did with his 'come out' and 'it's gonna rain'; in later he work blackhumour cut phrases out of conversations and moved them around, creating new contexts. that work appealed less to me, i must admit. the six selected pieces here are from the period 1996 to 2002 and hold the middle ground between those 'heavy' drone like pieces from the early years and the cut 'n paste pieces of later. repetition plays a big role here, and most of the time it seems like not much is changing here - except for 'arbitrary', which seem to contain glitches from the digital audio tape it was once recorded on (unless this is a dirty cd), which add something to the voice material. Otherwise these pieces are as minimal as you can get, and it's the blackhumour i like very much. it has that fine hypnotic sound, with enough information to concentrate on one thing for a while and then something else. 'le mot juste' is the piece in which things change around into something entirely different. 'revision' adds in density over the course of seventeen minutes before changing over, in order to grow again, which is pretty much a standard blackhumour compositional technique. this is a most wonderful release. it should have fitted on monochrome vision (blackhumour has a strong black and white aesthetic too), but on noise-below is equally in the right place. if you have no idea who blackhumour is or what he does and if 80s unsung cassette heroes is your 'thing', then this cd is the best place to start. my pick of the week." [Fdw/Vital Weekly]

Nach ihrem letzten Studioalbum "Piano Nights", mittlerweile schon über fünf Jahren alt, veröffentlichen Bohren & Der Club Of Gore am 10.01.2020 ihr neues Album "Patchouli Blue" auf [PIAS] Recordings Germany. 1988 in Mülheim a.d. Ruhr gegründet, und seit 2016 - nach dem Ausstieg von Schlagzeuger Thorsten Benning - auf eine Trio-Besetzung optimiert, haben Bohren & Der Club Of Gore mittlerweile 7 Studioalben, 1 Compilation und eine 1 EP veröffentlicht. Dazu zahlreiche Konzerte auf der ganzen Welt gespielt und sich mit präziser Entschleunigung, kombiniert mit minimalen Lumeneinheiten, eine große und treue Fangemeinde erspielt. Dabei blieben sie ihrem Sound stets treu. Mit Bass, Saxophon, Piano, Fender Rhodes, Vibrafon und Besenschlagzeug als Basis erschaffen sie seit 20 Jahren ein einzigartiges Werk - immer instrumental, immer langsam, immer ereignisarm. Gesang gibt es nicht. Nun also "Patchouli Blue". Instrumental, langsam, ereignisarm. Gemischt wurde das Album wieder von Andi Reisner. [label info] "The fog is turning to rain as I push through the doors into the old Club of Gore. The place has been closed up for a few years but nothing much has changed, it’s still comfortably frayed around the edges. Organ drone swells up from the background, cuts out. They kept the worn fittings and the gloom, smells like death rock. After a couple of minutes the saxophone sighs softly, like a friendly hand on your shoulder. Patchouli Blue just fell into my lap, new information at short notice. The hardcore had the jump on me all along. By the time this review makes it out they’ll be soaked in it, hip to details I haven’t had time for yet. Bohren & der Club of Gore play a superbly unhurried type of slow core doom jazz. The sort of stuff to make long shot film noir images spool across the mind’s eye and your internal monologue turn all hard-boiled detective without warning. New faces at their notional dive bar turn on their heel pretty sharp or settle right on in because it feels like home. Companionship in solitude, nobody pulling on yer sleeve and making noisy chit chat, it’s all existential brooding on life’s mystery in here. If you’re coming to it cold then what Patchouli Blue most sounds like is Angelo Badalamenti’s dark jazz mood music for Twin Peaks. Only slowed down and left to wander the woods. It’s what’s playing on the jukebox in Audrey Horne’s coma." [Echoes & Dust]

"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

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

True to form, Borghi works directly with VHS tapes and the apparatus that plays them, manipulating the exposed mechanisms with the care and curiosity of a dedicated scientist. Drawing from these manual manipulations, Borghi's experiments combine mechanical sounds with mangled tape samples to inspire a mechanised nostalgia inseparably hybridised with human trace. Unlike others who work with old film, he resists the eerie to focus on the intricate crunch and buzz, an electro-acoustic soundscape tangentially related to the field recordings. By highlighting the precise moment that recorded media becomes perceived, a restless, shifting mass of both familiar and unrecognisable sounds results in a unique form of otic chiaroscuro. The result is a complication of inside and outside sounds: distant, gesturing snippets of semi-remembered, half-imagined films compete with TV cathode burn, tracking stutters, mechanical interference, and vérité whirrs and clicks that could only come from that original reproducer of dreams, the VHS player. With Palsecam Borghi gives dignity to an often maligned format, in an engaging mélange that represents the recovery of an object discarded as an objet d'art. Composed and recorded by Andrea Borghi. VHS Recorder, contact microphones, computer. Andrea Borghi : andreaborghi.com/project/vhs-2 Published by Aposiopèse / Mastered by Giuseppe Ielasi. APO 17 | Cut by Kassian Troyer at D&M. Speed : 45 RPM. https://label-aposiopese.bandcamp.com/album/palsecam

Glacial Movements is pleased to present Polar Code, the debut album by Italian multidisciplinary artist Lia Bosch, which is also the first work by a woman to be released in Glacial Movements' almost 20 years of activity. Polar Code is a project where narrative, visuals, and music blend into an immersive and conceptual experience. Bosch personally oversaw every aspect of the creation: she composed the album, conceived the narrative, and crafted the accompanying visuals, creating a multi-dimensional work that encourages deep reflection on existential and social themes. Polar Code unfolds through a story set in an abandoned alien base in Antarctica, a remote and mysterious location where ancient human experiments once took place. The protagonist, a researcher sent by a secret government agency, is tasked with investigating unusual activity detected in the region. Upon arrival, he encounters a desolate, eerie landscape filled with darkness and secrets, where every corner hides traces of a vanished alien presence that still feels ominously close. As the researcher explores the facility, he comes across the symbol of infinity, a glowing, pulsating portal that seems to be the key to understanding the connection between all life forms in the universe. This symbol becomes the focal point of the narrative, conveying a profound message about interconnection: every human action, every choice, has repercussions that extend beyond time and space. The researcher is thus plunged into a deep existential reflection on his own existence and humanity's role in a vast, intricate cosmos. The symbol of infinity, laden with meaning, is not merely a scientific discovery but an ethical and philosophical call. It embodies a profound truth: no matter how separate or superior humans may believe themselves to be, they are an integral part of a universal, interconnected system. The information contained within the symbol offers humanity a chance for redemption and salvation, but it also demands an acknowledgment of human fragility and the oppressive structures that underpin society. The protagonist faces a crucial decision: to accept the revelation of the symbol and risk disrupting the global order, or to turn away from the opportunity to change humanity's fate. This choice presents a profound moral dilemma, in which the potential to reform society—currently rooted in exploitation and conflict—collides with the risk of unleashing further destruction. Bosch delves into the tension between the need for renewal and the dangers inherent in transformation. Polar Code stands out as a work that transcends simple storytelling, weaving together sound, images, and words to provoke reflection on power dynamics, human fragility, and cosmic. Lia Bosch is a multidisciplinary artist who explores painting, design, poetry, music, and film directing. Her academic background and life experiences in various countries have enriched her artistic journey, allowing her to absorb diverse cultural and artistic influences. Her artistic vision has been shaped by international residencies in cities like New York, Los Angeles, and Paris, as well as travels in Asia and South America. These stays have given her a global perspective and a variety of creative stimuli, playing a crucial role in her development and contributing to works that reflect a wide range of experiences and sensitivities. Her passion for philosophy and psychology has deeply influenced her understanding of human complexity, offering new perspectives to her works. Similarly, her interest in poetry and music intertwines with her artistic practice, leading to creations that deeply explore human emotions and dynamics. She has also studied dance, integrating movement into her creative process and adding a physical dimension to her art. This multidisciplinary approach allows her to work with different expressive means, reflecting her desire to explore all the potentialities of art. Lia Bosch's creativity flows freely through multiple languages, rejecting rigid categories. Her multidisciplinary identity stems from the belief that art should be a continuous and dynamic exploration. Lia Bosch sees art as a means to better understand oneself and the surrounding world, inviting viewers to look beyond superficial appearances and find deep connections between different forms of expression and human experience. Her art is in constant evolution, reflecting personal growth and life experiences. For her, art is a means of discovery and an invitation to explore new horizons, both internal and external. Her multidisciplinary practice exemplifies how art can transcend traditional boundaries, offering a rich and multifaceted vision of the human experience. credits released December 5, 2024 Original concept, music, production, mix, artwork, and storytelling by Lia Bosch www.liabosch.com Produced, mixed and mastered by Ludowing www.ludowing.com Layout by Rutger Zuydervelt

Mannequin Records reissues "My Government Is My Soul", a searing 1989 statement from Bourbonese Qualk, one of the UK’s most defiant and politically engaged experimental acts. Originally released on the group’s own label, this LP captures the uncompromising spirit of a band deeply embedded in the resistance movements of 1980s Britain. Recorded during a turbulent period of social unrest, "My Government Is My Soul" stands as a fierce response to authoritarianism, surveillance, and the neoliberal decay that defined the Thatcher era. Bourbonese Qualk fused industrial rhythms, minimal synth, distorted tape loops, and spoken-word polemics into a sound that was both confrontational and deeply physical—a weaponized form of music rooted in activism and direct action. Widely regarded by fans as one of the band’s strongest works, "My Government Is My Soul" has earned a near-mythic status in underground circles. Fans have praised the album’s stylistic breadth—“sometimes it kisses the hem of rock, at others it bows towards the likes of Steve Reich & Philip Glass". This reissue, fully remastered by Rude 66, reintroduces a critical work of post-industrial dissent to a new generation. Still as urgent and unflinching as ever, the album resonates with today’s climate of mass disinformation and systemic control. It is a timely reminder that sound can still be a form of resistance.

Drei lange Stücke mit mesmerisierendem Traum-Ambient/ Drone, in den sich allmählich mikroskopische Klangdetails niederschlagen.... kontemplativ und meditativ entrückt, dicht & erhaben. Eine andere Art des Hörens von Klang & Empfindens von Zeit wird hier möglich. „DURATION 51:56 Bonus disc: 21:37 FORMAT CDr DESCRIPTION A sultry haze… A shimmer of light… A moment… A place… A memory… Forever suspended in time… To listen…To drift… To remember… To lose yourself…To dream…“ [label info] www.twentyhertz.co.uk

"Xerxes was the King of Persia in 500 B.C. and could be considered today as a symbol of 'blitzkrieg'. His aggressive instincts allowed him to defeat the Greek army in a quite short period of time thanks to his great armada. Xerxes can be considered as a symbol of aggression, of invasion and let's say of penetration by all meanings of the word. Invasion implies a sexual connotation, it's obvious! This sonorous material bearing the same name tries through sonorous metaphors but also through direct resonances to concretise this notion of ultra-violent agression inherent to all periods of Humanity. We can unfortnately deduce that if Humanity had never known its wars, History would be meaningless. Unfortunate ! Having in mind the contemporary history, for instance the Second world war, one can say that everything is assembled here: barbarity combined to technology, to death organisation (may it be communist or fascist), but also to the first high-tech propaganda embryos ! Today in 2011 all systems, and this thanks to new techniques of 'information', keep on bombarding and formating the masses with high-flying high-tech systems suitable to their ideals. One can deduce that today Humanity didn't change one iota since the dawn of time! Technology being only crutches and prothesis. The end of tyrannosaurus isn't coming any time soon! C. Renou" [label info] http://rotorelief.com

"Does BRUME / christian renou really need an introduction? active for nearly 30 years, he's now considered as one of the french masters of musique concrete. having released more than 100 releases on many international labels (there are too many to name a few) on many different formats, he's back to taâlem for his third release, after one under his own name in 2007 ("gone with the wound") and another one under a mysterious alias (try to find which one it was!). BRUME / c.renou: voices, taped voices, tapes, electronics, cymbals, small gong, big metal plates & tubes... comp./rec./mix. at BRUME rec, spring 2014 "humanity is a reduction of a great hight bones loaf onto which i'm walking on. that's history!" photography: delphine ancelle-b." [label info / credits] www.taalem.com www.taalem.com

Eine Art Retrospektive von der BEEQUEEN-Hälfte mit seinen melancholisch-süssen, folk-angehauchten Homerecording-Ambient-Songs… einiges davon ist wohl bereits auf anderen Formaten schonmal erschienen, aber vieles scheint auch neues Material zu sein. “Brunnen reveals that part of Beequeen's Freek Kinkelaar which is the strange wandering minstrel/alchemist (half-orc cleric with a +2 mace). If only more records were so cogently perplexing. A slightly cinematically arranged, quasi-psychedelic little dear of a hushed pop song opens the album. Freek's vocals sublimate in a pleasant whisper, not unlike (ahem) a quieter Yo La Tengo song. Freek, perhaps true to his name, does not hesitate to then very, very slowly weave together a spacious tone poem whose initial notes live counties apart, concocting an outré sort of high lonesome that might sonically drift across the same sort of plain as Wenders' Paris, Texas does visually. Kinkelaar's vocal delivery tugs at shirt tails ala Just Drifting era Psychic TV balladry or introspective LPD. Subtly amplified guitars chime quietly against slo-mo keyboards, occasional samples, tablas and air. An understated rave-up of Trust In Me from The Jungle Book is a nice exclamation point. A musical sandwich, really, with the outer psychedelic pop buns keeping the avant-garde middle meat warm.” [label info]

Eine Art Retrospektive von der BEEQUEEN-Hälfte mit seinen melancholisch-süssen, folk-angehauchten Homerecording-Ambient-Songs… einiges davon ist wohl bereits auf anderen Formaten schonmal erschienen, aber vieles scheint auch neues Material zu sein. Diese limitierte Vinyl-Version ist auch gleichzeit Teil 3 der RECORDS ARE NOT FOR BAKING – Serie, die es im Abo auch mit Bonus pic-12“ gibt! “Brunnen reveals that part of Beequeen's Freek Kinkelaar which is the strange wandering minstrel/alchemist (half-orc cleric with a +2 mace). If only more records were so cogently perplexing. A slightly cinematically arranged, quasi-psychedelic little dear of a hushed pop song opens the album. Freek's vocals sublimate in a pleasant whisper, not unlike (ahem) a quieter Yo La Tengo song. Freek, perhaps true to his name, does not hesitate to then very, very slowly weave together a spacious tone poem whose initial notes live counties apart, concocting an outré sort of high lonesome that might sonically drift across the same sort of plain as Wenders' Paris, Texas does visually. Kinkelaar's vocal delivery tugs at shirt tails ala Just Drifting era Psychic TV balladry or introspective LPD. Subtly amplified guitars chime quietly against slo-mo keyboards, occasional samples, tablas and air. An understated rave-up of Trust In Me from The Jungle Book is a nice exclamation point. A musical sandwich, really, with the outer psychedelic pop buns keeping the avant-garde middle meat warm.” [label info]

"...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

Bu.d.d.A. (Bund des dritten Auges) was born accidentally – in a dark room in Barcelona. It evolved quietly until Sascha Stadlmeier (EMERGE) and Chris Sigdell (B°TONG) took Bu.d.d.A. on the road and started to take the project seriously. This resulted not only in various EPs, split releases and compilation tracks, but also in a bona fide album which you can hold in your hand and put in your player. What's inside? Mesmerising ambient music! Bu.d.d.A. is Sascha Stadlmeier and Chris Sigdell doing the unexpected... playing real instruments! "Diese Anmut von Trophäen" ("This grace of trophies" in German) features not only trademark Bu.d.d.A. tracks, but also guest appearances by such illustrious figures as Bees from COMMON EIDER KING EIDER, DREKKA and BEBAWINIGI. Think of Earth meets Troum together with Brian Eno on LSD... "Diese Anmut von Trophäen" is released by the joint efforts of Zhelezobeton Distribution Division (Russia) and Attenuation Circuit (Germany). Available on cassette, CD and in digital formats. zhb.radionoise.ru/eng/zhbd-23.html * * * * * * * ZHBD-23 © 2022 Bund des dritten Auges — a sight revered EMERGE: violin, electronics, field recordings, voice B°TONG: electric guitar, bowed guitar, synthesizer, vocals, samples featuring: Bees (Common Eider, King Eider): voice (2) Drekka: piano, rain (3) Bebawinigi: voice (4) written, arranged & produced by Bu.d.d.A. recorded at ac hq & The Loft 2020–2021 mixed by Sascha Stadlmeier & Chris Sigdell final edit & mastering by Chris Sigdell at The Loft logo & design by Chris Sigdell Bu.d.d.A. would like to thank Buddha, Rob Fisk, Michael Anderson, Virginia Quaranta, and Zhelezobeton https://zhbd.bandcamp.com/album/diese-anmut-von-troph-en

Bu.d.d.A. (Bund des dritten Auges) was born accidentally – in a dark room in Barcelona. It evolved quietly until Sascha Stadlmeier (EMERGE) and Chris Sigdell (B°TONG) took Bu.d.d.A. on the road and started to take the project seriously. This resulted not only in various EPs, split releases and compilation tracks, but also in a bona fide album which you can hold in your hand and put in your player. What's inside? Mesmerising ambient music! Bu.d.d.A. is Sascha Stadlmeier and Chris Sigdell doing the unexpected... playing real instruments! "Diese Anmut von Trophäen" ("This grace of trophies" in German) features not only trademark Bu.d.d.A. tracks, but also guest appearances by such illustrious figures as Bees from COMMON EIDER KING EIDER, DREKKA and BEBAWINIGI. Think of Earth meets Troum together with Brian Eno on LSD... "Diese Anmut von Trophäen" is released by the joint efforts of Zhelezobeton Distribution Division (Russia) and Attenuation Circuit (Germany). Available on cassette, CD and in digital formats. zhb.radionoise.ru/eng/zhbd-23.html * * * * * * * Дуэт Bu.d.d.A. (Bund des dritten Auges) родился случайно – в тёмной комнате в Барселоне. Его развитие поначалу шло незаметно, а потом Саша Штадльмайер (EMERGE) и Крис Зигделл (B°TONG) решили отнестись к проекту более серьёзно и даже отправились в тур. В результате появились первые записи: несколько миньонов, сплит-релизы и треки на сборниках, а теперь и полноценный альбом, который можно подержать в руках и поставить в проигрыватель. Что мы найдём внутри? Эмбиент, да не простой! В рамках Bu.d.d.A. Штадльмайер и Зигделл творят нечто странное... они играют на нормальных инструментах! На "Diese Anmut von Trophäen" (нем. "Это обаяние трофеев") можно услышать не только традиционные для Bu.d.d.A. треки, но и участие таких интересных фигур, как Bees из COMMON EIDER KING EIDER, DREKKA и BEBAWINIGI. На ум приходит некая условная смесь Earth и Troum вместе с Брайаном Ино под кислотой... "Diese Anmut von Trophäen" выпущен совместными усилиями лейблов Zhelezobeton Distribution Division (Россия) и Attenuation Circuit (Германия). Альбом доступен на кассете, компакт-диске и в цифровых форматах. zhb.radionoise.ru/rus/zhbd-23.html ZHBD-23 © 2022 Bund des dritten Auges — a sight revered EMERGE: violin, electronics, field recordings, voice B°TONG: electric guitar, bowed guitar, synthesizer, vocals, samples featuring: Bees (Common Eider, King Eider): voice (2) Drekka: piano, rain (3) Bebawinigi: voice (4) written, arranged & produced by Bu.d.d.A. recorded at ac hq & The Loft 2020–2021 mixed by Sascha Stadlmeier & Chris Sigdell final edit & mastering by Chris Sigdell at The Loft logo & design by Chris Sigdell Bu.d.d.A. would like to thank Buddha, Rob Fisk, Michael Anderson, Virginia Quaranta, and Zhelezobeton Co-released with attenuation circuit: attenuationcircuit.de | emerge.bandcamp.com https://zhbd.bandcamp.com/album/diese-anmut-von-troph-en

"Bad Weather" is a performative sound art event of a group of performers engaging with reconstructions of Baroque theater noise machines. The project started in 2017 when Lithuanian artist Arturas Bumšteinas teamed up with theater carpenter Ernestas Volodzka to re-create wind, rain, sea and thunder imitation devices, identical to the ones whose canon settled in European theater in the 17th century. Commissioned and produced by contemporary music theater production house Operomanija, "Bad Weather" events have since been presented in Lithuania and Poland. During each performance, the ensemble plays the machines in keeping with meteorological maps and charts from various centuries that serve as scores. Contemporary artist Ivan Cheng was invited to write and perform a libretto that is integrated into every performance in different ways. In the Baroque era, the noise machines constituted only a small part of the theatrical illusion, lurking behind the scenes, invisible to the audience. Meanwhile in "Bad Weather", they take the spotlight and become generators of conceptual climate. "Bad Weather Long Play" is a collage of sound materials from performances, rehearsals, soundchecks and other occasions related to the project, as documented with various recording devices between 2017 and 2019. The sides of the LP don't function as A and B sides but can be played in any order. The LP is presented in a full-color sleeve with a printed inner sleeve containing photos of the various stages of the project and liner notes by Salomé Voegelin. An included 8-page booklet reproduces Ivan Cheng's libretto. "Produced from a selection of recordings made at rehearsals, workshops and performances with an alternating team of seven performers, Bumšteinas convokes a work that sounds its process on the mobile blueprint of meteorological maps as scores. Creating a mis-en-scène of invisible occurrences that talk with each other in the language of a storm that is brewing, raising and petering out, and that leaves a trace in our ears, an imprint and a movement that might only clear the next day." (from the liner notes by Salomé Voegelin) Arturas Bumšteinas (b. 1982 in Vilnius, Lithuania) is an artist working within the intersections of sound, music and art. His practices include performative sound art, radio art, exhibitions, experimental acoustic and electronic music. He started exploring theater noise machines in 2012 when he was commissioned by Deutschlandradio Kultur to compose "Epiloghi. Six Ways of Saying Zangtumbtumb". https://www.edition-telemark.de/903.02.html

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]

"GREGORY BÜTTNER schickte für nil:.audio (AICdisc009, 3“ cd-r) Daten in den Softwarehimmel, in dem sie gelöscht werden und alle Sorgen enden. Vorher jedoch hört man in vier Varianten mehrfach komprimierte Sequenzen aus CDRom-Werbungen (heute auch nur noch prähistorische Kuriosität). Nach der ersten Überformung sind noch die Werbestimmen vernehmbar, wenn auch schon vermulmt, verzischelt und überwummert. Mit jedem Prozess nimmt die Information ab und die Entropie zu. Sirrend, bitzelnd, schmurgelnd verteilen sich die Klangmoleküle und nähern sich über eine Phase, die vielleicht den sprichwörtlichen Traumweiden von Androiden ähnelt, mehr und mehr dem anderen Ende der Bewusstseinsund Verstehensskala, um in den elysischen Gefilden zu verlöschen." [Bad Alchemy] "Gregory Büttner, known as member of the duo Für diesen Abend , and also for running the fine small label 1000füssler, is giving honour to AIC by this impressive concept of subversive appropriation. Quicktime movies, taken from various internet providers’ advertisement CDRoms, were used as source material for the audiovisual work “nil”. The images as well as the sound tracks of those flics from the late 1990s / early 2000s ( so, from medieval times of digital technology ) have been compressed again and again by Buettner, using different Codecs – followed by some precise compositional arrangement. “nil:.audio” documents the most prolific audio pieces of the series – dense and idiosyncratic electroacoustics." [label info] www.0000-anti.info

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

The world of Mireille Capelle is one of music and theater. She has performed as a singer in numerous European opera houses, under the artistic direction of the foremost stage directors and conductors. Mireille Capelle is singing professor at the Ghent School of Arts and member of the artistic board of HERMESensemble. She has a particular affinity with contemporary music and art, characterized by many encounters with the most important contemporary composers. Do'un is an "architecture sonore" ("sonic architecture") composed for the exhibition INTUITION (2017) curated by Axel Vervoordt and Daniela Ferretti in Venice. Mireilles sound scapings are electronic sculptures to be performed as a live format. Do'un was presented as a live installation by Mireille Capelle and HERMESensemble with visual artist Angel Vergara at Palazzo Fortuny in May 2017. Inspiration for Do'un comes from the philosophy of the Greek philosopher Democritus and his ideas about cosmology and the void. Do'un is a one-hour piece characterized by rich sonic layers embedded in a drone-y atmosphere. A very intuitive piece. Mireille Capelle in her words about the piece: "Even though when I talk about it, I find that intuition is closer to mind than instinct, the sound architecture Do'un, created for Intuition, seems to prove the opposite. This piece is very sensory. . . . Sound needs the sensitivity of the physical body to receive intuitive auditory information. As if listening to the invisible is really a human act, a human need. Something that is within us and that we inevitably seek, either consciously or unconsciously. The rhythm that is often used for the communication of ancient peoples with the invisible universe, and that goes against our rationality, is present in the installation." Mireille Capelle appeared in various films and plays, as in an impressive number of operatic roles -- including Wagnerian parts such as Eva and Kundry, or Salome and Der Komponist (Richard Straus) and a slew of French characters. In parallel she developed a large concert repertoire including main sacred and secular works from early baroque to contemporary music. She manages to combine most intimate singing as a classical recitalist and opera singer with pioneering all-round "performances" as a vocalist, composer, and soundscaper. Furthermore she is linked to the HERMESensemble as a member of the artistic committee and performer. Design by Jeroen Wille. Mastered by Jack Allett. Three-panel digipak. www.audiomer.org

https://adnrecords.com/album/capricorni-pneumatici-the-erivar/ "Historically, Italy is home to not only a large number of respected industrial/noise projects, but also wider experimental music in general. One such project is Capricorni Pneumatici, which has been active since 1987. This is a duet of two musicians, hiding under the names of Pazuzu and Soda Caustica. The project plays gloomy music on the verge of ritual ambient, drone and concrete music. The album was released in 2016 by the Italian label ADN in cooperation with the Russian label Monochrome Vision, in the form of jewel case CD, as well as on tapes, limited to edition of 50 copies. At the moment you can order this album on the websites of labels. The cover of the album is made in blue tones. On a blurred blue background is a pale blue medieval picture of a lion’s head with open jaws, in which there is a tied man. At the top is the name of the project, done in pale blue with a simple font. At the bottom of the cover is the album’s title The Erivar, written in the same font. On the turn of the two-page booklet is depicted a snake-like dragon, trying to swallow a human-like caudate creature, which is in some sort of cocoon or ellipse. The drawing is also made in medieval style. On the back of the booklet is a list of songs and various other information. The back part duplicates the last page of the booklet. The album consists of eight tracks of different duration. The total time of the album is just under an hour. It is worth noting that tracks three and seven, have participation from one of the more famous names with experimental scene Z’EV, who recently left this world…. Of course, I was interested in these two tracks, but about those a little bit later. So, the album begins with the almost five-minute composition ‘Inside Mother‘. Atmospheric pulsating metal Drones are supported by a long lingering vocal and rare ritual blows … A very interesting atmospheric beginning of the album. Next is the track ‘The Erivar‘, which is the longest track here – just under twelve minutes. The tracks constructed around creaking of bass strings, a distant low hum, a metallic grinding noise and a rumbling sound like a low-tuned cello or double bass create an eerie and disturbing atmosphere. Closer to the end, tension builds up, but almost at the very end, everything calms back down. The third track is called ‘Ode to Fortum‘, and it was recorded along with Z’EV, who also did the processing of this track. It is worth noting that the tracks made in co-authorship with Z’EV were recorded in 2009, while the rest of the tracks were made in 2014-2015. Naturally, I expected a big difference in sound. My expectations were justified. The track sounds more raw, it’s almost noise, saturated with delay and reverberation. It is difficult to single out individual sounds, all squeaks, tapping, and drones merge into one background droning noise. The fourth track, called ‘You Are Four And Magic‘, in many respects repeats the string sound of the second track but is more relaxed, and there is also a high male vocals, the manner of which is similar to a spell or mantra. Then comes the shortest track of the album. Its duration is just over four minutes and it is called ‘Mon Fordon‘. We hear reversed rhythmic metal drones, into which, in the course of the composition, a higher hum and a slight rustling and tapping are intertwined. This is the most ambiguous track on the album. It seemed somewhat boring and synthetic. The sixth track, called ‘Ohyf‘, is almost ambient with a touch of drone. By sound, this track is close to ‘Ode to Fortum’, which was made with Z’EV, but not so overloaded by delay and has a more transparent and rich sound. The seventh track ‘Ord Traditori‘ was also recorded and processed together with Z’EV in 2009. Naturally, I expected to hear a more raw sound, similar to the second track. But I heard a crystal clear sound. It’s a dark Dark Ambient with low drones and creaks. There is an ominous voice of an indefinite sex, which very emotionally recites the text unknown to me in French. The last track is called ‘Cyngus Olor’ is a kind of Outro. It’s pretty simple stringed drone, resembling the sound of Indian tanpura. The whole album left a very pleasant impression on me, despite the second track that broke out from the general style, as well as a short but somewhat boring fifth track that could have been possible left out. My favorite tracks are ‘The Erivar‘ and ‘Ord Traditori‘. As a result, we have a good conceptual work in the style of acoustic Drone / Ritual Ambient, which I’m sure I’ll listen to again." [Musique Machine]

"Mit acht brandneuen Neuinterpretationen und Bearbeitungen von CHRIS & COSEY Klassikern aus den Achtziger und Neunziger Jahren. Die Idee zu diesem Album stammt von den sehr erfolgreichen Live Performances von ,Carter Tutti Play Chris & Cosey", die zwischen 2011 und 2014 zu einer bisher ungesehenen Serie von Shows im Vereinigten Königreich, Europa, Skandinavien und Nordamerika führten. Diese Shows führten wiederum zu einer großen Nachfrage, was Aufnahmen dieses Livesets anging, so dass sie Ende 2014 die komplette Kollektion der aufgearbeiteten Klassiker in ihrem eigenen Studio in Norfolk neu aufnahmen. Jedes Format wartet mit einem exklusiven Remix auf. Bei der CD ist das ,Vengeance" im exklusiven Remix, während das Vinyl sämtliche fünf Tracks von der Merchandising CD der Tour enthält. Double LP version, includes all five tracks from the limited CD Remix Chris & Cosey (CTI RSDUK01, 2014). Reinterpretations and re-workings of classic Chris & Cosey songs from the 1980s and 1990s. The idea for the album originated from the pair's much-requested live performances of Carter Tutti Plays Chris & Cosey, taking place in an unprecedented series of shows in the U.K., Europe, Scandinavia, and North America from 2011 through 2014. These dates in turn instigated so many requests for recordings of the live set that they were inspired to re-record this collection of reworked classic versions in their own Norfolk studio. Housed in a gatefold sleeve." [label info] "Carter Tutti. Chris & Cosey. There may be a semantic difference somewhere to be discussed, but this album brigades what those differences may be as the pair of Chris Carter and Cosey Fanni Tutti have crafted an album of material mined from the back catalogue of Chris & Cosey albums under the moniker Carter Tutti. Over the past four years, the couple has been touring vigorously, with the set including revamped / recorded / reengineered versions of the older Chris & Cosey material. So many people approached them with requests for the live recordings of these newer versions that they went into the studio to properly sequence these tracks for an album. And we gotta say that Carter Tutti offer up one hell of a recapitulation, and at times, they really do better themselves than what they had done back in the '80s. When Throbbing Gristle broke up and Chris & Cosey ventured out on their own, they adopted the seductive electro-pop subversion facets of TG to their own devices. Their albums eagerly consumed technology and fused any and all forms of electronics into the sexual / somatic rhythms of the human body. Admittedly, some times their ideas were hindered by the technologies that were at their disposal. Samplers that could only fire so fast and so much. MIDI programming that was limited by latency, memory, and timing issues. Jump several decades, and what Chris & Cosey did in the '80s with a bank of synthesizers and sequencers can now be done on any given phone. So many of these recapitulations work with the same set of melodies and sequences, but smoothed out the technological stumbling blocks. "Driving Blind" was one of the better tracks on their 1984 album Songs Of Love And Lust; and here, the two flesh out the arpeggiation of the sequences with a dense polyphony of streaming electronics above their whipcrack techno production - and Cosey's skulldrill monotone mantras are as compelling, delirious, and sexy as ever. "BeatBeatBeat" is one of the most refreshing recreations, mostly because the original was pretty damn annoying, again with a minimal, surgical set of cybernetic techno and Cosey reworking the vocal chorus into more of a celestial chime and less of a mosquito irritant. The S&M inspired "Sin" finds Cosey channelling Siouxsie more so than she's ever done in the full-throated bellows of sexual depravity above another finely tuned machine of chome-plated techno. One can hope that whatever new material comes out of this redux, it will follow this template which is pretty fucking great." [Aquarius Records]

"Im August erscheint bei Fourth Dimension “The Ninth Circle Beyond the Sun”, das neue Album von Michael Cashmore. Die Veröffentlichung umfasst zehn Instrumentalstücke, die laut Label an die Stimmungslagen seines vorherigen Albums “Until the End of Vibration” anknüpfen. Cashmore bewegt sich hier im Spannungsfeld zwischen melancholischer Elektronik, eleganten Pianomotiven und sparsam eingesetzter Perkussion. Die Kompositionen verweisen, wie es ferner heißt, auf frühe elektronische Musiktraditionen, erinnern stellenweise an die Klangästhetik von Tangerine Dream. “Along the way, there are piano-led melodic swells, a couple of surprisingly serrated edges and sparingly used percussion veering between the bombastic and more emotionally charged. Between each of the compositions, there’s an overarching sense of sadness or resignation while carefully woven refrains point to the simple beauty one derives from staring at a night sky or the sun’s rise or setting over a serene sea apparently untouched by man. Sophisticated yet unostentatious, this is music that’s bold, minimal and utterly deserving of the attention of the film that will doubtlessly play out in your head as you lock yourself in to everything it promises. While we await the day when Michael’s work is hopefully accorded the recognition of the cinematic treatment it deserves, we can at least satisfy ourselves with everything he is producing along the way” (Fourth Dimension). Cashmore selbst bezeichnet “The Ninth Circle Beyond the Sun” als sein bislang wichtigstes Werk. Es erscheint als CD, die Edition ist auf 300 Exemplare limitiert." {African Paper] "Michael Cashmore - The Ninth Circle Beyond The Sun arrives with a quiet confidence. In a post on Facebook he stated it his "one of my best works in years". From its first moments it becomes clear he isn't exaggerating. Whilst releases in his Doctrine of Transformation Through Love series have used audio frequencies as a transformational tool combing intensity, beauty and brutality to stimulate consciousness The Ninth Circle Beyond the Sun focusses heavily on the beauty with a flow of 10 parts blending piano, synths with elements of ambient, classical and cosmic to create something cinematic, infused with that innate feeling of sadness and hope that has characterised his work across many forms. The album unfolds as a continuous suite of melancholic, piano-led compositions wrapped in a cosmic, spacious electronic atmosphere. Early tracks introduce tender piano themes surrounded by swirling synths and occasional timpani, gradually expanding into orchestral-style synth strings and soft percussive elements. Part 4 is especially strong: a tender piano score paired with emotive strings, and blended with the cosmic synths. At the heart of it is a melody carrying a sense of joy and hope, and that Englishness his music still conveys, despite now being resident in Berlin. Anyone familiar with his work with Current 93 or Nature and Organisation could identify this as a Michael Cashmore composition instantly. Midway through these 10 compositions, subtle buzzing textures, chiming percussion, and later drum rhythms add momentum with Part 7 shadowed in quivering textures before cutting to quiet synthesiser. Throughout, melodies flow from one piece to the next, with Part 8 returning to soft piano and orchestral strings over gentle cosmic drones. Here, the piece transforms seamlessly into another aching melody - so sad it practically weeps - and again into yet another piano setting. These melodic patterns and progressions just tumble so effortlessly from Michael Cashmore. From the chime of bells opening Part 9, piano notes fall like tears lifted by synths into a beautiful melodic passage filled with strings and synth suspended within a cosmic haze. On the final piece a melancholic piano score leads into strings passing through waves of cosmic synth textures. Piano motifs recur and reshape themselves, gently unwinding until its final ascent to complete the circle beyond the sun and onwards. The album feels like a long-awaited return to the melodic sensibility and emotional precision that have marked his greatest works with Current 93, Nature and Organisation, and his recent solo output. The sound sources provide cohesiveness, but I wonder whether it would benefit from the flourishes and chord progressions of his guitar compositions, which are absent here. It is, however, like a culmination - or perhaps a meeting point - of the incomplete piano-based works of Death In a Snow Leopard Winter and the melodies of his major works with Nature and Organisation, together with elements of his sacred audio frequencies releases and the digital-only symphony The Sword Becomes a Shield (Symphony Number 1). This is sadness and melancholy delivered as a continuous suite of piano-led movements blended with electronic and cosmic synths, befitting a cinematic score. We encourage you to snap up this one, as an already-completed follow-up, The Tenth Circle Beyond the Sun, awaits the success of this release. The Ninth Circle Beyond the Sun is available as CD limited to 300 copies available from Fourth Dimension Records. [Compulsion Online]

Long out of print, this is the definitive Cassiber collection in a solid box and fully documented. Made up of the Four classic studio albums, re-mastered by Bob Drake, two extra CD collections: The Way it Was – an amazing set of studio sketches and live recordings with guest appearances by Dietmar Diesner and Rene Lussier and Collaborations, documenting three extended special projects: Duck and Cover – with the addition of Fred Frith, Dagmar Krause, Tom Cora and George Lewis, Cassix – a recording project from Montepulciano with half of Stormy Six; and one track from Otomo Yoshihide/Ground Zero’s Cassiber Live in Tokyo with Shinoda Masami Remix project, as well as a two hour DVD of live and studio footage from Brasil, Frankfurt and Berlin - including a mini-documentary made during the recording of A Face We All Know. The new edition comes in a sturdy box with 40 pages of documents, interviews, information, photographs, pictures, itineraries and miscellaneous memorabilia. Context: In 1982 Cassiber crashed into the Deutsche Neue Welle. Founded by Heiner Goebbels, Alfred Harth, Christoph Anders and Chris Cutler, they fused experimental rock, fringe jazz, punk, pop, plunderphonics, improvisation and musique concrete into a complex form of studio - and then concert – composition that was unique in mashing experimental form with a risky and expressionist mode of execution. In content and aesthetics, Cassiber tracked and anticipated the political and technological changes of its times, shifting, over its 10 years of existence, from the high stakes energy of the earlier releases to the more composed and complex studio works of its later years. Most impressively, Cassiber opened up song form by abandoning, extending or crashing sideways into it – and by creating unlikely structures from a combination of noise, libido, high musicality, dramaturgy and cultural debris.

https://angelicacastello.bandcamp.com/album/silvertone-e-il-sentimento-oceanico https://www.gruenrekorder.de/?page_id=20469 "Information is available about Angélica Castelló's new record 'Catorce Reflexiones Sobre El Fin', meaning 'fourteen reflections on the end'. She composed this music for an installation at the Museo de Arte Contemporáneo de Oaxaca, Mexico, in 2019. She uses many field recordings, but according to the label, also she refers to her previous work, including voice work, recorded in very high and very low quality. I assume some recordings include her instrument of choice, the Paetzold recorder. There are fourteen pieces on this album (as they were on display in the installation, hanging from the ceiling), and I admit it also sounds like two long pieces, with the occasional silence occurring. The shuffling of a spade in the first piece, 'Rómpeme', reminded me of digging a grave. There are more of these death references, such as the church bells of 'Bells' or the shattering of glass, also an end. There are lots of animal sounds, and there is an eerie atmosphere throughout these pieces. In 'Un Homme', there is the sound of an old record; there is a marching rhythm, jackhammer or funeral march? Hard to say. Castelló carefully uses reverb to add to the creepy atmosphere. It is uneasy music, but at the same time, it is beautiful uneasiness. The 'death'/'end' theme is not throughout all these pieces; perhaps, they aren't always that noticeable. Sometimes, she's more observing the scenery from some distance, which makes it spooky, as if the impending doom is coming your way any time (and you know it will come to all of us). Castelló uses musique concrète techniques in mixing various sounds and telling a story, and she does that very well. No extensive processing techniques are used, but they are more collage-like, with seemingly unrelated sound events becoming one narrative. Of the three new releases by Gruenrekorder, this is the best, in terms of music, at least. There is an underlying concept, yet the music can be enjoyed without knowing too much about it." [FdW / Vital Weekly]

These two engaging films—Out of Boundaries and Who Says I Have to Dance in a Theater—provide insights into Anna Halprin’s creative philosophy, teaching methods, and performances, serving as an informative follow-up to Ruedi Gerber’s Breath Made Visible. In lively conversations Anna articulates her ideas, describing the trajectory of her work, distinguishing her method from traditional choreography, clarifying her pioneering concept of task-oriented movement, and much more. In addition, there is footage from important past performances and revealing excerpts from the rehearsals for the 2004 performances at the Festival d’Automne in Paris. Trailer 1: http://www.jacquelinecaux.com/jacqueline/en/documentaire-out-of-boundaries.php Trailer 2: http://www.jacquelinecaux.com/jacqueline/en/documentaire-anna-halprin.php These two films captures, from videotaped conversations and numerous excerpts of rehearsals, performances and rare archival footage, of fundamental changes made by Anna Halprin in the field of dance. As soundtrack its have musics by Pauline Oliveros and Terry Riley who both have, at various times, worked with her.It was born in California, in the mid-fifties, long before swarm in New York, this form of artistic expression so peculiar that we later gave the name of 'Post Modern Dance'. All those who participated in the outbreak of this phenomenon know Anna Halprin is an important pioneer. Born in 1920, she has literally exploded all agreements remained in contemporary dance by supporting research on the everyday actions, and taking into account the anatomy of men as well as his unconscious desires and his sexual impulses. She introduces in 1957 the concept of 'task' (to perform actions such as dressing, undressing, walking...). Floor of sneakers or shoes with high heels, she improvises in parking lots, construction sites, in the streetOn the set dancing outdoors that her architect husband Lawrence Halprin has built below their house near San Francisco, she drives in her crazy adventures - to the extreme by galvanizing their own creativity - young artists from different fields still completely unknown. Dancers such as Simone Forti, Yvonne Rainer, Trisha Brown, Meredith Monk, as well as Robert Morris (before he choose the sculpture), which then introduce in New York on radical innovations of Anna Halprin, forming the core of 'Judson Dance Theater', composers like La Monte Young and Terry Riley, she called in 1959 co-musical directors, and experimenting with her music minimalist and repetitive they are inventing. Other artists such as Charles Ross, a poet like James Broughton, filmmaker Stan Brakhage...An important step while leading it to take into account more than ever the real in work, will Anna Halprin media spotlight away from the city of New York with all the artistic means at its disposal, it will be his fight against the cancer she suffered in 1972 with a recurrence in 1975. Cured, that's when she began working with cancer patients, and later of AIDS. 'I'm not a therapist', she is to clarify, 'I am an artist who seeks to develop imaginative and personal social issues. For me, art is this: bring in a creative process things imposed on us'. Environment California has strengthened the inspiration of Anna Halprin and has enabled her to celebrate away from demonstrative virtuosity, beauty of the natural movement of the human body. This, combined with its long association with disease and death, leading to her most recent improvisations in nature such as 'Returning Home' and 'Season' or 'Rocking Seniors' with more than fifty old persons'. Jacqueline Caux www.jacquelinecaux.com

"CD reissue of 2006-2009 recordings originally released on cassette in December 2009. Track 2 is exclusive to the CD and forms a link between the original A and B-side. Note however that track B1 on the cassette has been moved to track 13 on the CD.... " [label info] http://sirenrecords.blogspot.com/ "55x gibt es die katalognummer siren 17 bereits seit 2009. als japan-only(!) cassette(!!). für alle anderen jetzt auch als CD in einem der chalk-typischen (hier: aufklapp)cover in buchbinderarbeit. 14 stücke sind gelistet, alles überragendes stück (in länge und direkter einnahme) aber das gleich an nummer eins gesetzte titelstück mit seiner laufzeit von 21.35 minuten. gespielt (vermutet) mit einer (vermutet) präparierten oder (andere vermutung) nachbearbeiteten orgel. dazu ein paar ganz unten stattfindende fieldrecordings und es entsteht ein stück, das völlig unaufgeregt klingt, durch den charakter des einzelnen tons und die mäandrierende melodie und das kommen und gehen von unterstützenden akkorden jedoch einen extrem catchy appeal ausstrahlt und damit sofort packt. „ghost of nakhodka“ ist dazu auch wieder mal ein perfektes beispiel für diese art von stück, das sich eigentlich überhaupt nicht zu verändern scheint, dazu extrem lang ist und trotzdem die ganze zeit spannend bleibt. und das auch nach heavy rotation. hut ab. eigentlich ist allein dieses titelstück schon ein vollwertiger release (und die CD wert) und vielleicht ist das format CD auch nicht wirklich in der lage, das konzept der „ghost of nakhodka“ insgesamt abzubilden, unterbricht die ursprüngliche cassette doch, genau wie eine LP, das bei einer CD mögliche durchgehende hören einfach durch ihre aufteilung in zwei seiten. und erhöht so automatisch (und eben auch zusätzlich konzeptuell/formal)den kontrast zu den weiteren 13(!) stücken (auf der ursprünglichen cassette nur 12, hier ein weiteres stück, „the shadow clock“, im gegensatz zu den sonst alein von andrew chak eingespielten als einziges mit vikky jackman und daisuke suzuki als gästen). kontrast heißt hier: länge. 2,5-3,5 minuten sind schon die ausnahme, fast alle bewegen sich im bereich um die minute und, überraschung, schaffen es, nicht wie bloße fragmente ihrer selbst zu wirken, wie andeutungen einer eigentlich benötigten, längeren laufzeit. das liegt natürlich auch daran, dass stimmung und harmonie oft aneinander anknüpfen, aber auch, weil die einzelnen stücke auch bei unterschiedlicher instrumentierung (und deren aneinandertreffen) eben „typisch chalk“ sind. in ruhe und ästhetik. schwer empfohlen. ach ja: mit obi. und den titelnamen auf japanisch." [Hellmut N. / UnRuhr]

"Newly reissued on vinyl (and digitally) with beautiful new artwork, Paradise Lost was originally released as a cassette back in 2019. As is the norm for many Andrew Chalk releases, additional details beyond the fact that it exists are quite thin, but this one takes that to an amusing extreme, as the Discogs entry for the original cassette notes "label and artist name are not listed on the release." That said, I believe I can say with moderate certainty that these two longform pieces were recorded on an 8-track reel-to-reel between 2016 and 2018 and that Chalk primarily played a synthesizer. Also, his Ghosts on Water bandmate Naoko Suzuki contributed some very well-hidden vocals and created the artwork for the original tape. To some degree, it makes sense that this album originally surfaced as a very limited-small run tape, as it does not feel like one of Chalk's more significant opuses, but it is quite an enjoyable and interesting release nonetheless. In fact, the title piece feels like legitimately prime Andrew Chalk material to me, though I suspect many longtime fans will be more fascinated by the surprising and divergent "This Pendent World." Faraway Press One interesting bit of information that I stumbled upon while researching this album was a blurb from Daisuke Suzuki's Siren Records noting that this album "strongly recalls the atmosphere of home recording in the '80s." I got exactly the same impression myself from the opening "This Pendent World," as I had scribbled down that it felt like a duel between two very different artists from the golden age of private press New Age: one kosmische-inspired synth wizard hellbent on taking me to space and another guy who just wants to lull me into a blissful, bucolic reverie with some pretty string swells. There are also some traces of a third guy who closely resembles contemporary Andrew Chalk, as there is a loose melodic theme of wobbly, liquid tones likely originating from an electric piano. While that is certainly an odd collision to encounter on a Milton-themed Andrew Chalk record, it works surprisingly well, amiably and amorphously drifting and curling like a trail of smoke. The following "Paradise Lost" is similarly form-averse, but in a much more compelling way, as its frayed and smeared swells of warm synth tones feel teasingly just out of focus. Additionally lurking within the artfully blurred dream-fog are a slow-motion tumble of acoustic guitar fragments, ghostly traces of Naoko's lovely singing, and probably some pedal steel too. I am tempted to make a wince-inducing pun on the album title here, but "Paradise Lost" is simply too beautiful of a piece to deserve such an indignity, vividly evoking the slowly streaking and shifting colors of an especially gorgeous sunset." [Brainwashed] https://andrewchalk.bandcamp.com/album/paradise-lost

Arctic Moon’ is the first full-length studio album by Chameleons since the release of ‘Why call it Anything?’ in 2001. “There is an obvious maturity to the songwriting on this record, and anyone familiar with our past work will hear that this is a positive step forward. While we’re proud of the band’s legacy, we really wanted to forge something fresh while retaining that profound and imaginative quality we’re known for. We think that we have managed to do that and deliver a very strong record!” Vox concludes. The band will continue to tour extensively either side of album release, with dates in Spain and Portugal between 6th-19th June followed by a set at the Forever Now festival in Milton Keynes on 22nd before a return to the US for headlining shows plus a dozen with The Psychedelic Furs commencing on 26th. A further headlining tour of North American cities kicks off a fortnight after the release of ‘Arctic Moon’, plus mainland European dates in Germany and the Benelux scheduled from late October ahead of a previously announced UK tour in November Long cited as a hugely influential act, having inspired the likes of (The) Verve, Oasis, Interpol, The Killers, Editors and White Lies, Chameleons are renowned for their transformative catalogue and intense, emotionally charged live performances, creating a legacy that extends far beyond their four studio albums to date. Their widely acclaimed debut, ‘Script of the Bridge’ (1983) has been cited by many as a masterpiece way ahead of its time, and was followed by ‘What does Anything mean? Basically!’ (1984), ‘Strange Times’ (1986) and ‘Why call it Anything?’ (2001). Their unique sound quickly won them an audience with its mix of melancholic yet energetic and powerful tunes, hypnotic, ethereal riffs and a potent, timeless lyrical style. They are considered one of the most influential guitar bands of the ‘80s and ‘90s, contributing substantially to the post-punk, shoegaze and indie scenes. 2024 saw the release of two EPs that kicked off a new chapter for the band. ‘Where Are You?’ consisted of three new songs, while ‘Tomorrow Remember Yesterday’ featured five re-recorded archive tracks. ‘Arctic Moon’ sees them propelling forward musically while retaining the essence that originally made them iconic. ################# The legacy of The Chameleons dates all the way back to 1981 when the band were discovered by the legendary BBC Radio host John Peel. Following their debut single In Shreds for Epic Records in 1982, the band released three seminal albums: the widely acclaimed Script of the Bridge (1983), cited by many sources to be a masterpiece way ahead of its time, its follow up What Does Anything Mean? Basically! (1984) and for the US based Geffen Records Strange Times (1986). Their unique sound quickly captivated the public through their very own mix of melancholic, yet energetic and powerful tunes, hypnotic ethereal riffs and the potent, timeless lyrical style. The Chameleons are considered to be one of the most influential guitar bands of the 80s and 90s, contributing substantially to the post-punk, shoegaze and indie scenes and are often regarded as one of the most underrated bands ever to emerge from the city of Manchester England. The Chameleons disbanded in 1987 only to re-emerge in 2000 with the independently release, Why Call It Anything and toured widely across Europe and the United States. However following the tragic death of their drummer, John Lever, and the departure of another founding member guitarist, Dave Fielding, the group disbanded once more. The Chameleons reformed in 2021 with surviving founders and principle writers: guitarist Reg Smithies and bassist, vocalist & lyricist Mark Burgess, joined by guitarist Stephen Rice, Danny Ashberry on keyboards and on drums Todd Demma. Over the decades the popularity and reputation of the band continued to grow leading them to share the stage with the likes of U2, Killing Joke, Bauhaus, Simple Minds, Talk Talk, The Cure amongst others. The Chameleons regard themselves primarily as a ‘live band’, which has earned the fan’s loyalty and respect for decades with their effortlessly intense and emotionally-charged performances. They have been touring extensively in the EU, UK, US and as far abroad as Australia, South America and China. The Chameleons are excited to announce the release of their first new single in over a decade: Where Are You coming out on May 24th on Metropolis Records in conjunction with ‘Strange Times Entertainment. “We are thrilled to be working on our brand new album titled Arctic Moon coming out later this year. We’ve been working extremely hard and we’re really proud of the results so far. We all feel it’s the best work we’ve done so far. Fans might have the chance to hear some of the new songs on the upcoming tour in the United States, Europe, Australia and South America.” https://www.metropolis-records.com/artist/chameleons

Christopher Chaplin and Carl Michael von Hausswolff: The Prisoner of Chillon by George Gordon (Lord) Byron music composed by Christopher Chaplin and Carl Michael von Hausswolff Catalog-Nr.: Plus 155 Format: CD + booklet Country: Sweden / Great Britain Release Date: March 2024 Genre: Electronic Stil: Experimental Tracklist 01 The Prisoner of Chillon (45’) Credits & Notes voices: Judy Nylon Anna von Hausswolff Carmen Alt-Chaplin Marietta von Hausswolff von Baumgarten JG Thirlwell Christine Martha Roedelius & Hans Joachim Roedelius Christopher Chaplin Carl Michael von Hausswolff Recordings made at East Grinstead (Sussex, UK), Château de Chillon (Villeneuve, Switzerland) and at various locations in France, Sweden, England, USA and Austria, 2022-23. Mixed at East Grinstead and final mix at the Castle (Stockholm, Sweden), 2023. Music published by Touch Music/Fairwood Music UK Ltd. Design by Robert Schalinski The Prisoner of Chillon was written and published 200 years ago. Byron was, together with the P.B. and Mary Shelley, on a small boat tour at Lake Geneva when they came upon the castle of Chillon. Byron learned about the fate of the freedom fighter Bonnivard, who spent 7 years as a prisoner in the castle dungeons, and in compassion wrote The Prisoner of Chillon. von Hausswolff and Chaplin remembered this castle from their respective childhoods and decided to compose a soundtrack to the poem. As they needed not only themselves but also other voices reading the text, they contacted a few of their friends and family members to contribute. Chaplin is a composer and a musician. He has released several albums on the Austrian label Fabrique and has played concerts all around the world - sometimes solo and sometimes with friends like Hans-Joachim Roedelius and Tim Story. von Hausswolff is a composer, visual artist and curator. He has released many solo albums and also collaborated with composers like Roedelius, Joachim Nordwall, Jonsi (of Sigur Rós) and Chandra Shukla (as Travelogue […]). This is von Hausswolff’s and Chaplin’s second collaborative album. PLUS 155 / Chapbook 025 | 2024

":: INTRODUCTORY WORDS ::: A mis-use of mistrust, a clouted loop, a taking under. a view of islands hidden by a cloak of sea steam, a loss, a hidrotic tide. Thus, I sigh at the sea, and the sea sighed back at me. - Danielle Baquet-Long ::: PRESS RELEASE ::: In a very short span of time and of creative obsession, CELER have managed to amass an astounding body of works…but this didn’t help to quench the thirst yet, and Danielle Baquet-Long, half of this symbiotic duo, under her wry moniker Chubby Wolf, sketched her own repertoire of twisted ambient patterns through spontaneous & diligent experimentation – this led to some brilliant discs, as for instance, “L’Histoire” on Gears Of Sand… Here on “Seasick” comes another of her sadly posthumous treasures, and it’s truly a pinnacle…some stirring ode to the immanence of the sea, and the ever shifting horizon strewn with ships going who-knows-where… An imposing slow unfolding lament respectfully & subtly enhanced by Mathieu Ruhlmann’s mastering who dared to sprinkle Dani’s soundscape with aural debris giving the whole work a new aura & pertinent direction… After all, Dani is still sailing… In front of us, a vertiginous sea, submerged crevasses frozen moments of uncertainty that makes our hearts sink into this solemn immensity… And when we get closer, It’s all ebullience, an endless wash of disparate elements pulled from a disintegrated cosmos… So, we’ll leave this world, as naked as when we entered into it, just shot through by its piercing beauty & sly unease, SEASICK, but somehow reconciled… ::: TRACKS ::: 1. Seasick ::: DURATION ::: 40:52 ::: FORMAT ::: CD ltd to 250 copies" [label info] www.mysterysea.net

- For Fans of: This Mortal Coil, Xmal Deutschland, Interpol, Zoviet France, Clan of Xymox - First ever reissue - CD and vinyl download card include three rare b-side bonus tracks // Cindytalk is the mercurial, expressionist outlet of Scottish artist Cinder. An evolution of her early 1980's Edinburgh-based punk band The Freeze, she launched the project upon moving to London, inspired by the crossroads of exploratory UK post-punk and early European industrial. Her work thrives on chance and transformation, collaging elements of noise, balladry, soundtrack, catharsis, and improvisation. After a series of celebrated albums for the Midnight Music label as well as collaborations with This Mortal Coil and Cocteau Twins, Cinder migrated to the United States, becoming involved with various underground techno collectives around the Midwest and West Coast. Subsequent relocations to Hong Kong and Japan further expanded Cindytalk's horizons, resulting in a fruitful partnership with Viennese experimental institution Editions Mego, for whom she released five albums of swooning, granular atmosphere. 2021 finds her as engaged as ever, at the precipice of long-awaited back catalog reissues alongside multiple new works, guided by her lasting love of discovery and deviation: "new pathways always being uncovered." Across decades of activity Cinder's body of work has forever followed its own elusive muse but nowhere is this restless spirit more apparent and ambitious than the 4th Cindytalk LP, Wappinschaw. Conceived as "a call to arms" inspired by Scotland and its struggle for independence, the title refers to an archaic Scottish battle inspection during which clan chieftains surveyed their group's weapons to ensure they were combat ready. A mindset of reflective preparation threads throughout the record, manifested in forms both naked and noisy, ancient and anguished. Opening with an aching solo vocal rendition of the British folk standard "The First Time Ever (I Saw Your Face)," the album then surges into the Cindytalk classic, "A Song Of Changes," sparkling and spiraling in strange waves of sorrow and joy. From there the mood fragments, tracing asymmetrical paths of feverish dirge, pensive spirituals, noir abstraction, spoken word (landmark Glaswegian writer Alasdair Gray guests on "Wheesht"), bagpipe drone, and apocalyptic post-punk. Given its aggressive eclecticism, it's not surprising that Cinder describes the creation of Wappinschaw as a "precarious" process, composed from "scraps" with abruptly shifting personnel - a situation only compounded by the impending dissolution of their label at the time, Midnight Music. Despite, or perhaps because of, these factors, the collection stands as a testament to Cinder's belief that "so-called experimental can only remain so if you keep challenging yourself." This is singular and challenging music, texturally jagged and emotionally conflicted, swimming through shivering darkness into fragile pockets of light. At the time of its recording, Cinder was attempting to leave London after many years in the city, dreaming of an ancestral return. But as much as "ideas of homecoming were percolating," there remained unfinished business, old ghosts to exorcise, culminating in Wappinschaw's heady, harrowing voyage: "An invocation of spirits of resistance - as much a declaration of war as a declaration of love."

Cindytalk is the mercurial, expressionist outlet of Scottish artist Cinder. An evolution of her early 1980's Edinburgh-based punk band The Freeze, she launched the project upon moving to London, inspired by the crossroads of exploratory UK post-punk and early European industrial. Her work thrives on chance and transformation, collaging elements of noise, balladry, soundtrack, catharsis, and improvisation. After a series of celebrated albums for the Midnight Music label as well as collaborations with This Mortal Coil and Cocteau Twins, Cinder migrated to the United States, becoming involved with various underground techno collectives around the Midwest and West Coast. Subsequent relocations to Hong Kong and Japan further expanded Cindytalk's horizons, resulting in a fruitful partnership with Viennese experimental institution Editions Mego, for whom she released five full-lengths of swooning, granular atmosphere. 2021 finds her as engaged as ever, at the precipice of long-awaited back catalog reissues alongside multiple new works, guided by her lasting love of discovery and deviation: “new pathways always being uncovered.” The 3rd album by Scottish industrial enigma Cinder aka Cindytalk began life as the soundtrack to an experimental film by English director Ivan Unnwin entitled Eclipse (The Amateur Enthusiast's Guide To Virus Deployment), and was originally slated for release via Factory Records' video division, Ikon. Inspired heavily by Alan Splet's eerily disembodied sound design in David Lynch's Eraserhead, the collection's 15 pieces seethe between field recordings, wistful piano vignettes, and lurking metallic haze – a hybrid palette Cinder characterized at the time as “ambi-dustrial.” Unfortunately Ikon collapsed on the eve of the project's completion so the film was never distributed, but the Midnight Music imprint repackaged Cindytalk's score as an LP in 1990 under the name The Wind Is Strong... (full title: The Wind Is Strong - A Sparrow Dances, Piercing Holes in Our Sky). Long out of print, the album remains one of the most elusive and adventurous in the Cindytalk discography, a mix of musique concréte, haunted reverie, and desolate beauty. Even unaccompanied by their intended visuals, this is overtly cinematic music, conjuring forests at dusk and shadowed corridors, equal parts remote and reflective. Cinder cites a belief that “all sound is music,” which fully manifests here, utilizing tape hiss, ticking clocks, flicking flames, and distant whispers as evocative accents in tapestries of luminous negative space. Although Cinder included the subtitle “A Cindytalk diversion” in the sleeve notes, The Wind Is Strong... is crucial to the project's canon, demonstrating the depth and versatility of her unique ear and intuition. She describes each album as a direct response to the previous one, and in that sense The Wind marks a bold break from the coiled song-oriented post-punk of 1988's In This World, venturing into unknown, unnamed terrain, and finding foreboding new futures to call her own. https://www.daisrecords.com/products/cindytalk-the-wind-is-strong Cindytalk ist das quecksilbrige, expressionistische Ventil der schottischen Künstlerin Cinder. Als Weiterentwicklung ihrer Edinburgher Punkband The Freeze aus den frühen 1980er Jahren gründete sie das Projekt, nachdem sie nach London gezogen war, inspiriert von der Kreuzung aus forschendem britischen Post-Punk und frühem europäischen Industrial. Ihre Arbeit lebt vom Zufall und der Verwandlung, sie collagiert Elemente von Lärm, Balladen, Soundtracks, Katharsis und Improvisation. Nach einer Reihe gefeierter Alben für das Label Midnight Music sowie Kollaborationen mit This Mortal Coil und den Cocteau Twins wanderte Cinder in die Vereinigten Staaten aus und engagierte sich in verschiedenen Underground-Techno-Kollektiven im Mittleren Westen und an der Westküste. Spätere Umzüge nach Hongkong und Japan erweiterten Cindytalks Horizont und führten zu einer fruchtbaren Partnerschaft mit der Wiener Experimental-Institution Editions Mego, für die sie fünf Alben mit schwelgerischer, granularer Atmosphäre veröffentlichte. 2021 ist sie so engagiert wie eh und je und steht an der Schwelle von lang erwarteten Wiederveröffentlichungen des alten Katalogs neben zahlreichen neuen Werken, geleitet von ihrer anhaltenden Liebe zur Entdeckung und Abweichung: Immer neue Wege werden aufgedeckt. Das dritte Album des schottischen Industrial-Enigmas Cinder aka Cindytalk begann als Soundtrack zu einem Experimentalfilm des englischen Regisseurs Ivan Unnwin mit dem Titel Eclipse (The Amateur Enthusiast's Guide To Virus Deployment) und sollte ursprünglich über die Videoabteilung von Factory Records, Ikon, veröffentlicht werden. Inspiriert von Alan Splets unheimlichem, körperlosem Sounddesign in David Lynchs Eraserhead, bewegen sich die 15 Stücke der Sammlung zwischen Field Recordings, wehmütigen Klaviervignetten und lauerndem Metalldunst - eine hybride Palette, die Cinder damals als "ambi-dustrial" bezeichnete. Unglücklicherweise brach Ikon am Vorabend der Fertigstellung des Projekts zusammen, so dass der Film nie vertrieben wurde, aber das Midnight Music Imprint verpackte Cindytalks Partitur 1990 als LP unter dem Namen The Wind Is Strong... (vollständiger Titel: The Wind Is Strong - A Sparrow Dances, Piercing Holes in Our Sky). Längst vergriffen, bleibt das Album eines der schwer fassbarsten und abenteuerlichsten in der Diskographie von Cindytalk, eine Mischung aus konkreter Musik, geisterhafter Träumerei und trostloser Schönheit. Selbst ohne die visuelle Untermalung ist dies eine offenkundig filmische Musik, die Wälder in der Dämmerung und schattige Korridore heraufbeschwört, die zu gleichen Teilen entlegen und nachdenklich sind. Cinder beruft sich auf die Überzeugung, dass ügalles Geräusch Musik ist,üh was sich hier voll und ganz manifestiert, indem sie Tonbandrauschen, tickende Uhren, züngelnde Flammen und entferntes Flüstern als evokative Akzente in Wandteppichen aus leuchtendem Negativraum verwendet. Obwohl Cinder den Untertitel "A Cindytalk diversion" (Eine Cindytalk-Abwechslungü) in die Cover-Notizen geschrieben hat, ist The Wind Is Strong... entscheidend für den Kanon des Projekts und demonstriert die Tiefe und Vielseitigkeit ihres einzigartigen Gehörs und ihrer Intuition. Sie beschreibt jedes Album als direkte Antwort auf das vorherige, und in diesem Sinne markiert The Wind einen kühnen Bruch mit dem songorientierten Post-Punk des 1988er Albums In This World, indem sie sich in unbekanntes, unbenanntes Terrain wagt und eine neue Zukunft findet, die sie ihr Eigen nennen kann. Für Fans von: Harold Budd, Tor Lundvall, Lawrence English, Kevin Drumm, Loscil, This Mortal Coil, Drekka, Zoviet France.

https://cindytalk.bandcamp.com/album/camouflage-heart Cindytalk is the mercurial, expressionist outlet of Scottish artist Cinder, inspired by the crossroads of exploratory UK post-punk and early European industrial. Her work thrives on chance and transformation, collaging elements of noise, balladry, soundtrack, catharsis, and improvisation. "We were trying to find our own space," says Cinder of the formative period 'Camouflage Heart' emerged from, amidst a move from Edinburgh to London and Cinder's evolving exploration of gender identity, well before culture at large was equipped to understand. With contemporary discourse we see that the project manifested her transgender ideas as visceral music. The guttural, feral sound marked a notably darker turn from The Freeze's six-year run on the fringes of punk. Changing the project's name became vital, not just because they kept hearing the former was already taken, but the desire to embody the spiritual and sonic shift, "to uncover new pathways…to feminize it," she says. Cinder, with bandmates David Clancy and John Byrne, arrived at Cindytalk, a winking nod to Sindy, the British fashion doll rival to Barbie known then for its pull-string talking mechanism. "The goal was to have a more interesting narrative, more interesting dialogue. Music was ultimately my only way of talking to people. That was my conversation with the world, an abstracted conversation…an attempt to make some kind of tiny, tiny mark, if possible, you hope somebody will notice." Over the years, Cinder has heard from fans who did pick up on the signals and find refuge in 'Camouflage Heart'. Subtle then, but she connects the dots more clearly now, playfully suggesting Dais reissue the long out-of-print vinyl in pink — "It had to be Barbie pink" — underscoring the mischief that's been there all along beneath the silvery surface of Cindytalk. 'Camouflage Heart' plays with tension and pace, from creeping to feverish to claustrophobic. The percussion moves between restless marches and barely-there pulses; for some parts, they scratched and hit a tin bath, among other objects. Guitar lines vibrate and stab as Cinder contorts her voice freely. She pulls poetry from a cerebral abyss, like "make the snake in your eye, pierce the camouflage heart" on the slow-droning centerpiece "The Spirit Behind the Circus Dream." In that register is raw power, both vulnerable and menacing, an ability to locate something deep and emotionally charged within. "I still remember that person who was way too intense for their own good," Cinder reflects. "I couldn't make a record like that now, certainly not vocally, while that anger hasn't dissipated; there's still a kind of warrior." For all the destruction and disintegration of Camouflage Heart, Cinder maintains the objective was never full-on fatalistic; these songs seek not to destroy but to poke and provoke, to transform and heal, to find cracks of light in a crumbling world. She points to the last lines of the opening track, "It's Luxury": "Don't look down," the lyric pines through static and rhythm. Cinder extrapolates, "I'm essentially saying, just keep fucking going. As time went on, for me, that falling became flying. Camouflage Heart is the beginning of believing in flight." Cinder - all words Cindytalk - all musics Cindytalk: Cinder - voice and instruments David Clancy - instruments John Byrne - instruments Richard Hurding - cover photography Mick Harvey - drumming on "Under Glass" Bruce Corser - label photograph Cliff Ash - sleeve photography Recorded at Gateway Studio, London, Jan-July 1984 Engineered by David Ros Except "Everybody Is Christ" – Recorded London, 1982 Remastered by Josh Bonati Layout by Vinnie Massimino & Nathaniel Young Dais Records 2025 "for those who came and will come closer" "elizabeth ... is there room in the rosary for three."

Finally four new tracks in a limited edition of 200 copies only! The music on FLOAT is marked by its meticulous attention to detail and a keen sense of restraint. It embraces a slow-paced and meditative approach, allowing the listener to sink into the music and experience a sense of timelessness. The compositions often have a sense of fluidity, with sounds seamlessly blending and evolving, creating a sense of movement and transformation.The ability of Johannes Riedel to evoke emotions through the subtle manipulation of sound is a testament to his artistry, making this release a captivating and memorable addition to the sound cosmos of Circular. https://loki-found.bandcamp.com/album/float

"This album dedicated to the archetype of Toad in world's mythology and based on re-processed sounds of frogs, toads and swamps.I made this field recordings during my travels in China, India and Kavkaz , also i receieved a part of them from friendly sound artists as Mars F. Weillink (x-Vance Orchestra) , Andrea Marutti (Amon) and Roman Voronovski (Rombix). Track 3 contains a looped voice by Dasha Baskakova and sounds recorded at Volkonski Dolmen using sine generator and dolmen original acoustic. Track 4 based on pitched loops of my violin and sounds from Mars. No any preset sounds/ synths used on this record. *The term "toadstool" was often applied to poisonous mushrooms or to those. Between 1400 and 1600 A.D., this term were used synonymously with some mushrooms of umbrella-like cap-and-stem form. *the myth of a Princess Frog exist in a different cultures. In Russia its a character of some russian magic tales of archaic times...Symbol of Princess Frog- is a frog keeping an arrow in mouth and with a crown on the head. Similar myths also exist in Chinese and South-American cultures.The image of a princess frog goes back to an archetype of totem spouses whom the primitive hunter should "marry" that hunting has gone right. Wedding on this totem was symbolical, in special ritual. The myth which explained sense of ritual, told about a marriage on totem spouse so that the cultural hero had an opportunity to receive for people any blessings, good hunt etc..." [label info] www.infinitefog.ru "Of much more interest for this rag is the music from Cisfinitum, the musical project of E. Voronovsky and for this new release he invited a bunch of friends to send him field recordings of frogs, toads and swamps. Friends such as Mars F. Wellink (x-Vance Orchestra), Andrea Marutti (Amon) and Roman Voronovski (Rombix) but he himself taped also some of these during his travels in China, India and Kavkaz. The cover mentions several references towards toads, mushrooms and the Princess Frog myth. That too might by a bit gothic, one could think, but the music is quite nice. There is talk, on the website, of various pieces, but there is one long piece on the CD itself, and with some good will, you can dissect that to smaller parts, slowly merging into one another. Heavily processed field recordings, created by means of computer treatment, time stretching, lots and lots effects, mainly reverb, stretch out this like a moist swamp land, sucking the listener inside, but as the piece evolves, and certainly the end bit, the last ten minutes, are very light, like a siren from the swamp singing for us. It's actually "pitched loops of my violin and sounds from Mars. No any pre-set sounds/ synths used on this record", which I thought was a nice bit of information. In terms of ambient, drone, soundscaping and such like, there is, perhaps, nothing new under the sun, but I thought this was not really a problem (if such would be a problem at all), as I wasn't looking for any of that. A highly enjoyable dark ambient album by one of Russia's best assets in this field." [FdW/Vital Weekly]

"The debut album by charismatic Eugeny Voronovsky and his enigmatic project Cisfinitum “O vs 0” is re-released in a CD format after 15 years of its cryptic lurking in the dark. True minimal post industrial analogue sound. The first album recorded by Cisfinitum circa 1998 is a unique archival work from internationally renowned underground dark ambient composer from Russia. The lunatic and lo-fi album with a distinct industrial aftertaste. It is kept unremastered and its pristine condition hints at obvious hisses, noises, clicks, abrupt frequency amplifications and sporadic channel drops. Approach the record with caution, play it not loud to reveal its morbid charm which is extreme simplicity that hurts. For the lovers of Archon Satani and No Festival of Light. The CD comes in limited Digifile edition of 250 copies." [label info] oleghkolyada.com

limited edition compact disc. screen printed on 4 panel 375GSM stock, hand-assembled, bound in crepe and sealed, edition of 100. "the self can never be completely represented in its own awareness, nor can its actions be completely predicted by any conceivable information-processing device. both attempts lead to infinite regress." [website info] "It's been a while since the first release by Clade, which was reviewed in Vital Weekly 821. Clade is from Oklahoma, but it says in the information that the recordings were made in 2010 in Chicago, and 'we apologize for the delay'. Perhaps Clade was on tour, and they stayed for a couple of days in Chicago, since the tracks are called 'Thursday III' and via Friday ends with 'Saturday III (Long)'. I am not sure, but I guess that they record this music also in one take, just like the previous release and that the instruments are still lots of guitars and electronics. Clade plays drone music, but there is a bit of difference with the previous release. Whereas then we found traces of noise/drone metal, that seems to be have disappeared here. The mood in these seven tracks is very subdued, calm and highly atmospheric. It's a wall of sound, but then of a relaxing nature, introspective. More Troum than Earth, if you catch my drift. It's however still not the most varied release that you could imagine, but these seven pieces, spanning some forty-eight minutes, are clearly various shades of the same color, and not many colors. The previous encouraged 'chemical accompaniment' - although not required - but then the forceful character of the music may have caused some damage. You'd better save those chemicals for this one, as this is the perfect music for such chemical enhancement. I thought this was the better release of the two I heard so far and I would certainly hope they would continue to explore these roads further." [FdW/Vital Weekly] www.cladistic.org

"Cleared is the longstanding project of Steven Hess and Michael Vallera, based in Chicago, Illinois. Of Endless Light was recorded by Jeremy Lemos at Electrical Audio in Chicago and mastered by Denis Blackham. The six tracks complete the longest release to date by the duo, who were resolute in utilizing the maximum time available on the compact disc format. Cleared has produced a series of critically recognized recordings since its self-titled debut in 2011. Working with the Touch label on The Key (recorded in spring 2019, released in October 2020, TO 116CD) was a leap forward, prompting remixed tracks by Philp Jeck, Fennesz, Bethan Kellough, and Olivia Block. Of Endless Light is noctambulant, a walk through formal sonic spaces and colors beginning with the cascading, bell-like tones of the opening track, 'First Sleep.' The husks of a city's industrial past are summoned: warehouses hollowed out for condominiums, dust-covered factory floors, a distant grind of machining, clouds of metallic particles, and the persistent background hum of traffic. These remnants contrast with hints of the sterile present of a city no less cruel than its industrial past. 'Dawn' opens with a grey drone and scattered electronic rhythms as wiring, and extended guitar lines suggest the opening of another cycle of the day into evening. 'Pulse' offers a hypnotic pattern that suggests the movement of people through the city's core, slowly overlain with cymbals evoking the shimmer of sunlight cleaving off the windows of distant buildings. The album appropriately concludes with 'Walking Field,' methodically moving forward via a cloud of meditative clicks and looping melodies. Of Endless Light is a patient listen, distilled into a sonic environment specific to Hess and Vallera's lens. Cleared created its crepuscular moods using the core methodology of their previous records while expanding their music's range, artistry, and subtlety. Deploying careful instrumentation, sampling, and mixing to experiment with tone and atmosphere, Of Endless Light breathes and drifts through layers of sound that veil, reveal, and intrigue. The result gives a listener much to discover, examine, experience, and consider -- as well as the incentive to return again and again." -- Bruce Adams, 2022 https://clearedreleases.bandcamp.com/album/of-endless-light

“When I was born, my family moved to a remote farm in north Ontario, known as ‘Setle’. Situated in the woods, ‘Setle’ was without electrical power during much of our stay, so much of my father’s work involved using power from a generator positioned 400 feet away, connected by a series of extension cords. By integrating sounds recorded from these and other remote locations, he created a form of ‘environmental music’ that expressed the beauty and solitude of the Canadian wildnerness. When we later moved the city, he would take me with him on recording missions, so as I got older field recording became like second nature. I record mostly in urban environments, but my appreciation for sound is deeply rooted in my formative years. Following the release of The Cherry Beach Project (on Mystery Sea) I set out record a ‘site-specific’ piece as a follow-up, although I didn’t have a particular location in mind. Without specific theme or purpose, time gradually eroded my initial intention for site specificity, as I gathered a tremendous archive of sound materials. Merging various threads into one mass, the construction of the piece seemed to take on a life of its own. As hundreds of sources blurred together to the point where I forget where many originate, I slowly came to look at the piece as a continuation of my father’s idea of ‘environmental music’ – coloured by memories and impressions of those early years in north Ontario, yet re-imagined through the dense and shifting sound pallete of Toronto, where I live and work." [Joda Clément] www.unfathomless.net

Alga Marghen presents the previously unreleased Collage 2 and Collage 3 (Dies irae) for magnetic tape, both realized at the Studio di Fonologia Muisicale RAI in Milan with the technical collaboration of Marino Zuccheri. These pieces are precious testimonials to Aldo Clementi's intense and ongoing interest in electronic music in the 1960s. The electronic composition Collage 2 dates from 1960. It was the first experiment with electronic music for Clementi whose original and consistent adherence to structuralism is reflected in several of his instrumental works written around that time. The first idea of Collage 3 dates back to 1966, in the form of a short electronic collage on the Beatles' song "Michelle." The composer wanted to replace old concepts and clichés which had become popular and common, through the use of "natural wells of timbre, live and organic, springing from a world of symmetry and fixed blocks." This original idea underwent a drastic transformation when the RAI (the Italian radio) commissioned Clementi to write a longer work. To his initial desire to start from scratch was added the problem of a longer duration. It was only when Clementi had almost completed the piece that he gave it its final title of "Dies irae," owing to the extreme tension that accompanied its composition. ############### Having already issued some incredible LP by Gavin Bryars, Phill Niblock, Damião Experiença, and Hans KRUSI in 2023, Alga Marghen returns with an absolute stunner, “Collage”, dedicated to seminal Italian composer Aldo Clementi. Comprising two previously unreleased works for magnetic tape - “Collage 2” (1960) and “Collage 3 (Dies Irae)” (1967) - both of huge historical importance, alongside a brand new rendering from 2022 of the composer’s brilliant “Fantasia su roBErto FABbriCiAni” - a work composed for flute and magnetic tape in between 1980 and 1981 - the importance of this beautiful LP can’t be overstated; bringing to light a previously inaccessible period of the great Italian composer’s career, and illuminating a crucial body of work at the heights of 20th Century musical Neo-Avantgarde. Aldo Clementi “Collage” (LP) Over the course of nearly three decades of activity, the Italian imprint, Alga Marghen, has continuously cast light into the shadows of historical sound practice, offering particular focus to underappreciated artefacts at the juncture of visual art, sound-art, experimental music, and sound-poetry. With each subsequent release, the label has helped to reform our understanding of 20th Century, and the voices that made it what it was. Over the years, they’ve brought forth an unprecedented range of early and archival material by seminal composers like Charlemagne Palestine, Walter Marchetti, Philip Corner, Henri Chopin, Robert Ashley, David Behrman, Max Neuhaus, Éliane Radigue, and numerous others. Further this mission, their latest, Aldo Clementi's “Collage”, presents some of the most extreme musics ever issued by the label, at the same level as Robert Ashley's “Wolfman”, Max Neuhaus' “Fontana-Mix Feed” or Philip Corner's “Oracle”. Representing an entirely singular sound and approach to tape music that was unique to Clementi alone, once again Alga Marghen has cracked it wide open and rewritten our understanding of the history of sound. Born in 1925 in Catania, Sicily, Aldo Clementi began his piano studies at the age of thirteen, for which he immediately showed great promise. Three short years later, in 1941, he embarked upon the study of composition under Alfredo Sangiorgi (a student of Arnold Schoenberg) who introduced him to the twelve-tone technique, leading to his attendance of the Rome Conservatory and Darmstadt. In 1956, Clementi met the Italian-born, German conductor, composer, and teacher, Bruno Maderna, attending the Studio of Phonology in Milan - the electronic music studio (RAI) founded by Maderna and Luciano Berio in 1955 - which instigated a decisive turning point in his career and work. It was there that he composed two key works in electronic music - “Collage 2” (1960) and “Collage 3 (Dies Irae)” (1967), issued here by Alga Marghen for the first time. While Clementi would become primarily known for pieces, composed for acoustic instruments, that were characterized by a calm, consistent sound, with their materiality rooted in a unity of concept and procedure - lacking highs, lows, and any sense of forward movement - that became almost self-generative, closely connected to the approaches of Pittura Informale, his early endeavors in electronics and tape music remain among his most important works. Despite having only rarely been encountered since, in 1961 “Collage 2” was presented at the Accademia Filarmonica Romana in Rome, and subsequently won the International Society for Contemporary Music’s prestigious competition that year. Realized at the Studio di Fonologia Musicale RAI in Milan in 1960, employing the technical collaboration of Marino Zuccheri, Aldo Clementi’s “Collage 2” was the composer’s first experiment with electronic music, about which he explained: “The title and the technique, both of the same name, are the result of my having conceived the work in terms of compositional planes created independently and later superimposed; this gives rise to absorption or emergence, intersection or isolation, all absolutely and deliberately unpredictable. The difficulties implicit in the acoustics, and consequently in the effect, of this kind of treatment, are taken for granted and accepted from the start”. The result is striking; a bumbling expanse of textures and muted tones that foreshadow (and possibly lay the groundwork for) his subsequent development of techniques that would render the sound, lacking highs, lows, and any sense of forward movement, for which he would become famed, illuminating a far more pointed and arguably aggressive sense of pop possibility for the conceptual framework. Conceived in 1966 as an electronic collage of the Beatles’ song “Michelle”, and realized the following year, also at Studio di Fonologia Musicale RAI in Milan, with the technical collaboration of Marino Zuccheri, in from a markedly different root, “Collage 3” encounters Clementi endeavoring to replace old concepts and clichés through the use of “natural wells of timbre, live and organic, springing from a world of symmetry and fixed blocks”. The outcome, while clearly a work of sound collage, renders the composer’s source material virtually unrecognizable in a swirling, shattered expanse, the extreme tension of which compelled Clementi to add the words “Dies irae” ("the Day of Wrath”) to the title, in a strange and fascinating reference to the idiom of Requiem Mass. The final piece on Alga Marghen’s “Collage” LP is “Fantasia su roBErto FABbriCiAni”, composed by Clementi in 1982, and thus offering a fascinating counterpoint to its predecessors, establishing a point of contact between his early electronic pieces and more well know acoustic works, and illuminating the enduring engagement with electronic process that stretched across his career. Composed for flute and magnetic tape, the piece is based on the notes corresponding to the letters in Fabbriciani’s name according to the German musical nomenclature (B flat, E, F, A, B flat, C, A). Describing the ideas at the root of the work, Clementi stated: “My stylistic purpose was to create a delirious labyrinth around the solo instrument like an enormous growth of vegetation that chokes out a little plant…”. The result, rendered here in a brand new realization, recorded live in 2022 by Alvise Vidolin, is a remarkable meeting of conceptual rigor - where the idea is the generative drive - and complex structural notions of composing. Against haunting sheets of dissonant tonality, a flute traces through the notes established by pieces conception, floating above in flirtations with melody that never fully form. Truly amazing on creative and conceptual terms, and engrossing in its sonorities, Alga Marghen has done an hugely important work with their issue of Aldo Clementi’s “Collage”, illuminating a little-known aspect of his output, and delivering this seminal voice of Italian Modernism to an entirely new generation of listeners. Ten out of ten and impossible to recommend enough. SOUNDOHM

" 'Wolfrahm' is the latest work by UK artist Richard Skelton, who records under many different guises, including A Broken Consort and Carousell. It's the follow-up to 2007's "A Moraine", and continues his preoccupation with landscapes, land formation, erosion, decay and renewal. The album's title is a reference to the mineral ore that produces Tungsten - a metal, which amongst other things, is used to make violin strings. The music itself brims with a rich, textural ebb and flow - a sonorous drift of shifting layers, with dark seams of beautiful, bowed melodies and eddying, turbulent undertow." [label info] www.shiningday.pl "Clouwbeck is yet another pseudonym for the British ambient folk experimentalist Richard Skelton, following A Broken Consort, Carousell, and a couple others which haven't yet found their way through these doors. Each of his monikers has its own slight yet particular bent on his signature sound of rough hewn melancholia, with Clouwbeck being the most somber and abstract that we've heard from him so far. He strips down the instrumentation to just the violin, although he does allow for a considerable amount of processing and thick applications of layered drone from that instrument, building up a ponderous atmosphere of wintry sadness. The album's opening track "Gossan" scratches out the melody as if the bow were dragged across a piece of barbed wire instead of violin, yet the buzzing, luminous beds of sound that Skelton broadcasts around these scraped recursive melodies prevents the whole thing from tumbling into dissonance. "Leached" softens the rustic buzz with a majestic billowing of overlapping violin melodies, distended and blurred into a rich mass of sound. The rest of the album continues to dive deeper with each track becoming incrementally more submerged in the dense loopings and hazy drones. Throughout, Skelton's album sounds like those beautiful orchestrations from Johann Johannsson as played by Alastair Galbraith and produced by the Caretaker. Really, fantastic stuff." [Aquarius Records]

"beneath the fabricating and universal writing of technology, opaque and stubborn places remain . . . hidden in customs, rites, and spatial practices . . . only fragments in language . . . like the deteriorating pages of a book” - Michel de Certeau, The Practice of Everyday Life 1. objects in stillness for bassoon, viola, guitar, percussion, and four sine tones (2006). Clogs: Bryce Dessner, Rachael Elliot, Thomas Kozumplik, and Padma Newsome. 2. a radiance scored with shadow for amplified paper, bowed vibraphone, bass drum, and compressed air (2007). So Percussion: Douglas Perkins, Adam Sliwinski, Jason Treuting, and Lawson White. 3. a murmur which redoubles for three guitars, electric bass, and four sine tones (2006). 4. doleros (audio tourism at ringing rocks) reclaimed building materials, steel, baler twine, speaker cones, light, and 12.1-channel audio (2008). Catch Guitar Quartet: Wiek Hijmans, Seth Josel, Patricio Wang, and Mark Haanstra. 5. untitled (objects of memory) live performance at NYC Sound Festival, Centre d’Arts Plastiques Contemporains/Musée d’Art Contemporain de Bordeaux, France. Seth Cluett (b. 1976, Troy, NY) is an artist, performer, and composer whose work ranges from photography, and drawing to video, sound installation, concert music, and critical writing. Engaging the boundary between the auditory and other senses, his work is marked by a detailed attention to perception and to sound’s role in the creation of a sense of place and the experience of time. The apparent tranquility of Cluett’s work – at once gentle and un-nerving – is concerned with the rapidly shifting sensory landscape of technological development and urbanization." [Credits] "These works occupy a position between an expanded notion of composition and a gallery-based art practice. The content of the works presented on this disc produce a slow series of gestures that give the illusion of stillness amidst a texture of continually developing material. The central concern in all of these pieces (the three fully scored works, the installation documentation, and the live-performance) is the construction of a sound world that is able to be environmental rather than temporal, proceeding slowly enough that it might be explored without the anxiety that it will move away too quickly. Like much of my output, I am interested in providing the listener with material that allows for an active agency of perception and that affords the ability to move through the sound autonomously. Whether the work is gallery-based, conceptual, or created for a concert hall, I am interested in viewing simple, everyday actions at extreme magnification, acknowledging failure by amplifying impossible tasks, and exploring the role of memory in forms that respect the contract between the composer, performer, and listener." [Seth Cluett] www.lineimprint.com "Less productive is Seth Cluett in terms of releases, or perhaps they escaped my attention. Cluett's work is also minimal, but also more 'traditional'. By this I mean that sometimes his work deals with a variety of instruments and players. More like a classical composer that is. Take for instance 'Objects In Stillness', which is a Niblock like piece for bassoon, viola, guitar, percussion and four sine tones. The next two pieces are alike: minimal, classical, introspective and simply beautiful. The other two pieces here are much longer and don't seem to involve any traditional instruments. Yet this is no break with the previous three pieces. In 'Dolores' he uses 'reclaimed building materials, steel, baler twine, speaker cones, light and 12.1 channel audio'. While there is a soft percussive element to the music, there is also the low humming bass sound, that over the course of the piece changes towards a more mid-ranged sound and a bit louder. If anything, I was reminded of the music of Steve Roden here. Sine waves also play a big role in the final and longest piece 'Untitled (Objects Of Memory)', which also uses cassette dictaphones, circuit-modified portable cassette player and controlled feedback. Despite it being the longest piece, it seems to have the least sound information, but its an excellent piece. Almost alike Alvin Lucier, but just with that extra bit to make it more 'musical'. This could have been a fine (if not short) CD by itself. This CD may serve as a fine introduction in case Cluett is a new name for you." [FDW/Vital Weekly]

"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]

listen: https://coh-official.bandcamp.com/album/radiant-faults Ivan Pavlov aka CoH characterizes his latest solo work, 'Radiant Faults', as “the recording of a dialogue,” rather than a set of compositions. Crafted using a rare new synthesizer, the Silhouette Eins, Pavlov’s first encounter with the instrument across a long, late night session resulted in a continuous set of textures, patterns, and subliminal melodies. At some point during the process, he realized he was not alone: “It was as if something was speaking to me through the gear – the feeling was very intense. No matter how determined and specific I attempted to be, the results were something else. They felt like 'responses.’ This instantly reminded me of ELpH.” ELpH is the name coined by Coil for a “celestial entity” that emanates from electronic equipment at mysterious moments, altering the creative process in unforeseen ways. They devised the term during studio sessions back in 1994, during which sustained software accidents ultimately seemed possessed of supernatural intelligence, spawning its own mythos. As a longtime member of Coil’s inner circle, Pavlov is steeped in ELpH’s ideology and influence – and highly qualified to identify an encounter of his own. Radiant Faults offers a compelling addition to the ELpH canon, at the threshold of music and manifestation, embracing the “divine quality of error.” The Silhouette Eins is a unique instrument combining the 1920's concept of an "optical soundtrack" with a hardware synth interface to Pure Data: a visual programming language for producing interactive music, using real- time video signal in its synthesis of sound. Pavlov’s attempted manipulations were answered by indecipherable transmissions from some distant, unknowable place. Stark waveforms drone and bend against skeletal metronomes; murmured pulses flicker down empty corridors; high fluorescent tones gleam and glitch in zero gravity – the mood throughout is one of generative whispers, hidden sentience, and ghosts in the machinery. A post-human terrain of scaffolding, shadows, and semi-conscious circuitry, rippling with veiled energies. Authorship aside, Pavlov’s process is transformative: “What we perceive as an error or mistake could very well be a message coming through. And while we are not able to decipher the message, sometimes – just like from a crack in a surface, or a tear in fabric – a light unexpectedly seeps through.” https://coh-official.bandcamp.com/album/radiant-faults

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

"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

"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

Collaboration von JONATHAN COLECLOUGH mit dem japanischen Cellisten & Impro-Droner LETHE ! Far-away drones, die man kaum fassen kann, dicht & subliminal, unwirklich & undurchdringlich, zeitweise sehr kraftvoll & konkreter werden in Mikrosound-Bereiche hinein, alles andere als statisch, mit überraschenden Wendungen. “It's a pity that there is not much information on the cover of this CD, since it would be interesting to know what is going on here. Lethe is the Japanese Kuwayama Kiyoharu, who has released a CD on Trente Oiseaux of his cello/drone music aswell as a couple of releases on his on own label (and a collaboration with Kapotte Muziek is forthcoming on Intransitive). The reader who has been paying attention knows the name Jonathan Coleclough as being on this reviewer's favourite drone artists. Now, why would it be nice to know just a little bit more? Is it Lethe sending sound material to Coleclough? Perhaps. It seems to me the most logical thing upon hearing this CD - well, two actually. If you want you can order a copy and order an extra bonus CD with 'Long Heat - Second Part'. It has the majestic sounds that is the trademark of Coleclough. These long drone sounds that slowly change shape, change colour. But that's only one part of the game. Coleclough adds another layer of heavily reverbed sounds of falling objects. An additional third layer is used for utter dry sounds – scratching the surface. Three distinct layers of sounds that over the course of each disc start to intermingle with eachother, they slowly merge together, but it's not that a blurr arises, not at all. From these slowly merging masses a new distinct and powerful drone arises above the field which slowly moves on and follows it's own course. Once this course is gone, the material falls apart like small particles, suddenly, without warning. But like said: is this what is done, or is it the work of Lethe producing this work with the use of Coleclough soundmaterial? Something says here, this is not the case. Hard to tell why, so it remains mere guessing. But is it important, all this guessing? Perhaps not, I am sure it is not important at all. Isn't this were the result counts? I am sure it does. And sure it does count. This is a beautiful work of drone music. Majestic stuff, moving slowly forward. Great stuff, but maybe I'm a little biased here.” [FdW / Vital Weekly]

“A new 7" by the Drone meastro - two extremely intense pieces based on the sound of water dropping. Limited edition of 200 copies only.” [label info] “....In "Pindrop" we hear the sounds of pins falling on a metallic surface - nothing else. With a total absence of drones. In "Seed Drop" the drones are present again, set against a backdrop of processed sounds of seeds dropping on, perhaps, the same surface. The a-side is very nice, but far too short, but for the limited concept of the b-side the format of 7" is fine enough. A little treasure.”[FdW, Vital Weekly]

"Plein Air the album presents recordings from a plant-driven synthesizer. A custom built instrument that uses scientific sensors and software programming to generate real-time tree leaf data. Light, photosynthesis and transpiration modifies sound: the rhythm, melody, texture, tempo and harmony shift with atmospheric conditions and tree response – electronically. The sounds of each leaf of regional deciduous trees by scientifically sensored data-sonification are much more musical than one could imagine. Their timbre and volume always depend on light and temperature, number of audience. It varies from site to site and from country to country. We can hear loops of rhythmic sequences, groups of tiny computer generated signals, long drones which change constantly and are hard to describe. Side 1 includes four short recordings, in total twenty-six minutes, of one leaf from Scottish Elder, Oak, Elderberry and Birch, recorded in one of Glasgow’s historical green houses, June 2017. Due to dramatic light and temperature changes that occur as sunshine and cloud formation changes in proximity to the north Atlantic; the computer generated music is highly dynamic, an intense hearing experience at times as I would imagine a tornado. Side 2, is one recording, in total twenty-five minutes, of a regional heritage pear tree leaf that sounds more like Minimal Music. During the Cologne Tree Sound Study, we made the recording in a small office room in 2015, we had less dramatic weather changes. A warm summer, smooth light changes, generating a more gentle soundscape to deeply plunge into music. (Georg Dietzler) Plein Air the album is based on a ten-year artist-led project. In simplest terms our intention is to provide a ‘mind/body experience’ of trees by attending to the sound of physiological reaction (photosynthesis and transpiration) as one leaf adjusts to the day to day changes (rush hour traffic, crowds of people) in ground level atmospheric chemistry in venues and cities. Physiological data is transposed into sound through computer software. We have chosen sound for its aesthetic purity with the goal to hear the trees more clearly as they react to changes in CO2, temperature and humidity. This system is called ‘Plein Air’, a stable single platform system that embraces the portable easel, as a metaphor for the historic practice of open air painting. Where Millet extended the idea of landscape to peasants working in the fields and the impressionists examined the phenomenological exchange between light and material. At the same time, recent work with the system raises questions about what we expect to ‘hear’ when we listen to nature, as it reacts to intense inputs of carbon dioxide?" (Tim Collins) https://www.gruenrekorder.de/?page_id=17206

The field recordings on this album contain the common theme of water in different states: snow, ice, hail, streams, creeks, in the Puget Sound passing under a ferry boat, pouring from a leaking sea wall, in frozen ponds, as it turns a water wheel, rain in thunder storms, in a pool during winter swimming. These were recorded between 2017-2024. They were usually made quickly while out with my son, and later edited to preserve the sounds of our voices while obscuring the specific content of what was said. In contrast, when Daniel records, he has a predetermined place in mind, and sets off on whole day adventures to document through both photography and audio. Working together melds his high fidelity, pre-meditated recordings with my spur-of-the-moment low-fi recordings. Daniel and I first met in 2011. We became friends through a shared interest in photography, music, hiking, and in subverting expectations and templates. Since then, we have collaborated on numerous visual and musical projects. When we decided to work together on Smelter, I gave him five recordings of my piano compositions which he treated and added his own elements to - turning them into long drone formations. These were then combined with the various water based field recordings we’d made individually. Making records this way creates an aural archive of place/time and environment - in the same way a film photograph holds onto a vision in time: the single moment when light is suspended in microscopic halide crystals which can then be recreated and reinterpreted: a form of time travel, where the past is both fixed and also accessible in the present. Daniel is a great story teller. Every album he’s made holds a narrative, and I have been lucky enough to hear many backstories! With “ Smelter” perhaps we have created a time capsule, an index in which to place our combined story telling for listeners to share. -Faith Coloccia When I was young kid my favourite book in the world was the Dictionary. Hey, It’s the book of life from A-Z! I worshiped the Dictionary like the holiest of books. One Sunday morning I was being bored out of my mind at church. The pastor gave a sermon and preached that “There is no definition in the dictionary for the word “Faith” and that is why it’s so special”. As soon as I got home I cracked open my holy dictionary and searched for “Faith”. Found the word in there but really not much of a definition offered. That mystery of the word “faith" stuck with me all my life and has been a great influence. I’m always searching for the impossible to define things in life. Or even try to create the undefinable! In which I strive for with my own music. What the HELL does this childhood story have anything to do with this collaboration album with Faith Coloccia???? Maybe nothing or maybe EVERYTHING! But this silly childhood church story came to mind when asked to write about our album. This collaboration recording with Faith Coloccia took many years and the longer it took for Faith Coloccia to finish it the better and stronger and even stranger the music became. Whenever Faith would apologise to me for the delay I would respond: “Faith…… I got faith in ya!” And so here we are with a collaboration album that is so special to Faith and myself that I do believe this music cannot be defined or captured by words. And that’s why it’s so special. - Daniel Menche Compositions and arrangement by Faith Coloccia Piano, voice, field recordings and sound treatments by Faith Coloccia 2017-2024 Sound treatments, oscillators, noise and field recordings by Daniel Menche 2023-2024 Mixed by Scott Evans at Antisleep, Oakland CA Stereophonic Mastering by Timothy Stollenwerk Photography by Daniel Menche Photo collage by Faith Coloccia Design by Traianos Pakioufakis https://room40.bandcamp.com/album/smelter

"Limited edition of 500 copies, CD in digipak, 16 pp. booklet. Feldaufnahmen I is the first release in a series of pure filed recordings by german multi-disciplinary experimental group COLUMN One. The 12 recordings where collected in east Germany in the Polenztal within the mountain range called Elbsandsteingebirge in 2000-2001 with the simplest equipment. The recordings where edited and rearranged by Robert Schalinski in Berlin in 2006. Feldaufnahmen I is a new üphase for Column One whio have continued to change and evolve in their musical career. The group was renowned for post-industrial atmospheres, media collages and cut-up dadaist humor now they enter the terrain of sound ecology with their own twist. The 12 pieces on the disc radiate with beauty - they demonstrate the full spectrum of sounds that can be found in any relatively quiet natural resort: dogs barking, humming of insects, crackling of twigs, footsteps, wind and more. The CD Feldaufnahmen I is is presented in a full colour digipak with a 16 pages booklet with full colour reproductions of photographs taken by Column One in the area where the sounds were recorded. Column One was founded in Berlin, 1991 as the IDEOLOGICAL BASIS for an (aesthetic) approach to structures, philosophical ideas & media of the (now) western world. At that time Rene Lamp & Robert Schalinski already had been working together on short-film projects. The philosophical ideas of RADICAL CONSTRUCTIVISM (Paul Watzlawik etc.), the paths of the CUT-UP demonstrators such as W.S. Burroughs, Bryon Gysin & Jürgen Ploog, the experiments of POP-TERRORISTS like Genesis P-Orridge with Psychic TV & the films of directors like Andrew Tarkowski, Derek Jarman, Ingmar Bergmann, Lars von Trier, Alexandro Jodorowski have had greater influence on the foundation and the work of Column One. However, the crucial point & the main motivation for the work of Column One is the TOTALISATION OF COMMUNICATION. Meaning: to bring back into consciousness communication in its unavoidable consequence & presence.... thus, it's about decoding information, the utilisation, cutting up & decoding of which is presented to us as REALITY & of what we constantly present to ourselves. In order to succeed in this decoding process Column One utilises existing forms of communication & its media & generally considers everything as raw material, basic element or finished product. Column One operates as collective. Besides the founding members a changing amount of various members changes from project to project: Andrew Loadman, Jerome Soudan (aka Mimetic), Wojcek Czern (aka Zia Siodma Gora), Jürgen Eckloff (also: Kein Zweiter), Leo Solter (also: Kein Zweiter, Tornow), R.U. Brain-Bridge..." [label description] "Over the years Column One has been a group that loved electricity - to connect their synthesizers, samplers, computer or whatever. Their music was strongly rhythmic and there was always a media edge to the music. Nothing so on 'Feldaufnahmen 1', the first in what is going to be a series of pure field recordings (as that is what the title means actually). Column One member robert Schalinski went out in East Germany to the Polenztal and recorded twelve different sound events. For whatever obscure reason they are titled in French, but the title leaves nothing to guess: 'The Insects', 'The Forest/The Dog', 'Water/Insects'. We hear dogs, children, rocks, all in a pure form. Very easy? Yes, very easy, but as someone who likes sounds, I must admit I pretty fascinated by these recordings. Simple and pure, phonography in it's purest form. I am not sure what the hardcore fans of Column One will think about this, but I thought this absolute break with the past is a great move and the result is likewise." [FdW / Vital Weekly] www.aufabwegen.com

Zoharum is excited to present for the first time on CD "WORLD TRANSMISSION" - a series of rare transmissions, reduced and performed by COLUMN ONE in chronological order to document some of its phases. This work is no recording. It exists as a stepping cone while it's essential creators were at work. W.T. 1 was recorded on August 12th, September 27th and October 5th, 1992 as well as January 23th, 1991 and April 17th, 1993. Previously released in 1992 on cassette tape titled "NEW-RE-GENERATION. The meaning and Function of this series were not clearly defined at the time.Various Unreleased Versions of this First Transmission took shape, all of which followed a diverging emphasis in their conceptional and formal direction. The originally released version, which is not included here, became a marked terminus rather then an origin. This release focused on the roots of COLUMN ONE that lie in a combination of coded key sounds and images. The associated degrees and movements of immersion and subversion into the consciousness that is COLUMN ONE moved, according to this pattern in a clear process. These recordings are basic situations. Like pieces of furniture they take place without variations in a psychic Space - without raising claim of wanting to enter a musical universe. Contact [recorded in 1993] varies the sentence “WHEN WE HEARD THAT NOISE, WE FELL DOWN AND HID OUR FACES.“ of a woman from NEW GUINEA. [1984] is included here as a curious find from childhood and documents first attempts to experiment with tape and sound in 1984. previously unreleased: contact, alloy, propaganda I, TH W AND [1984]. W.T. 2 originally released On A.N. COLUMN release For further information on COLUMN ONE, The Ideals and Products start collecting fish bones & moisten them under a ball of wool with a shampoo bottle or use the water from a leaky plastic bag to tear paper flags. W.T. 3 was an attempt to follow the physical aura of a religious architecture and, by using religious tools from its environment , Determinatesd to document COLUMN ONE spent two days in a church and followed streaming , Repellingly vibrating body of this concentrated space. All instruments were played live in November 12th & 13th and recorded with two microphones, installed at two different places of the church. The Position of these microphones made possible to document not only the overall sound, but also the movements in the room. An accentuation of the space acoustics besides the two micro-phones, which were the source material for this recording, a third microphone was connected to effects and a record player, AMP and Speakers. Through this second "artificial" system, manipulated sounds could be radiated into the room. The key and character of the recording are, however, to be found in the architectural presence of the church itself.. W.T.4 RE-WORKED TRANSMISSION World Transmission - the term for a species of contemporary trans-missions, produced and performed by COLUMN ONE in chronological order to document some of its phases : this work does not attempt to fulfil the form or function of an entire or commercial recording. It exists as a document, as a fragment- a tool for the work of the essential members. W.T.4 is the revised document of a COLUMN ONE event on April 3rd 1998 at Eimer in Berlin. It was the concept of this night to produce vibrations of "Ritual" materials of various origins in a new connection and in a new location. Besides acoustic instruments & sounds from our direct environ, used materials also included recordings of various natives. The Memories of this April 3rd are vague. Vibrations in a vault, in the centre of Berlin. All COLUMN ONE members in white robes... under an Alien-Like God... in catacombs scenery... W.T.5 was recorded the night of August 23rd-24th, 2001 and August 9th, 2010.Continuum is the final chapter in the WORLD TRANSMISSION series. The concept of these five albums, their visual and conceptual direction, was exclusively based on the artificial body that is “COLUMN ONE”. It was the perified root of this body that was buried in a pile of plastic, only to grow wondours blooklooms from time to time . In a time when museums still had doors and wordswere barked into megaphones on the quiet. The showcasehad been open long, the root penetrates other layer of Earth and vestows peace upon collectrors of spores and seeds. Continuum,. Upwards. Across narrow paths and overgrown rocks the calling and creaking loses itself in the treetops. It seems as if one climbs dowb into the coves of forest. The wooden cathedral. Each sound lies naked in the silence of the interior, whle the outside rushes from far above . Protected vt these walls, servants, masters, and rules move avout their empires, sleepwalkinng, floating, Gnawing and devouring, themselves, dragging and circling, tearing and creaking, stomping and buzzing all in one tone. Weighing tons, their craft lies one forest floor, permates and moves it, rises with the fluttering stroke of a wing, and sinks back into the ocean now and then large animals drft through these sacred halls. Kings are they. Lost in reverie they rumble through the trone room. Barley audible, a billion legs tick, like clocks. Crack tiny splinters beneath their feet... https://zoharum.bandcamp.com/album/w-transmission-1-5-set

This is the Soundtrack to the Kärma Burg film "Die Versuche des Naum Kotik" (The Experiments of Naum Kotik), released in a box set together with the film on Blu-Ray Disc. Recorded 2010-2021 at various places, compiled and organized by Egg-Love at Z. Film and soundtrack were only released together in this set, not separately. 8-panel Digifile, including 4 postcards. Edition of 300 copies. Dedicated to the memory of Hellmut Köntges-Eckloff (1949-2022). Column One were: Andrew Loadman - Tapes Robert Schalinski - Types Eyn Lump - Wooly Hat & High Profile Naum Kotik Jr. - Voice & Thoughts Jürgen Eckloff - Cut & Connection Mastered by Rashad Becker https://columnone.bandcamp.com/album/m-dchen-in-schmutzigen-sch-rzen "This has been on my desk for too long, but I kept delaying to work on the review. Not owning a blue ray player, which is the prefered format for the DVD here, didn't help, but also because I hardly consider myself a music reviewer (more an enthusiast who tells you about new releases), let alone that I know anything about film (or, for that matter, literature, choreography, sculpting, video art, performance; you name it and I am sure I couldn't write a review). Granted, I do go to the cinema, and I have a subscription for several years now, so I go up to three times a week (sometimes, not every week), but that makes me more of an enthusiast. We discuss what we saw with friends and if we enjoyed it, but that hardly qualifies me as a film critic. I also faced this dilemma: first, see the movie or play the CD? To watch the DVD, I need to be in the right mood (hence some of the delay explained), so in the end, I first played the CD but found it hard to get my head around it. Now that I have seen the DVD, the music makes more sense. Which is, perhaps, odd, as I am sure I didn't understand all of the movie. Kärma Burg made a film slash documentary about the Russian neurologist Naum Kotik (1876-1920), who was interested in transference, telepathy and psycho-physical energy. His grandson explored this further and made a script and film, ' Mädchen In Schmutzigen Schürzen', girls in dirty aprons. The grandson is being interviewed, and the subtitles are presented rather peculiarly, which doesn't enhance the understanding here. So far, so good, but the thought that can move objects? Lots of the movie (and I mean the aprons thing, which is in two versions, I think, as I'm unsure) is stop motion. The editing is great, and it works really with the music, for which the credits to Robert Schalinski. He's one of the three members of Column One. The CD can be understood as 'the soundtrack to the movie', and if you play it straight after seeing the movie, you'll notice some overlap, but like the movie, it is all a strange surrealist affair. The CD is more like a radio play, which stands alone very well by itself, but it is also a vital feature in the movie. The sound is as important as what you see and makes quite the hallucinating experience. Just exactly what it is about, or how it works? Maybe this is real or a mockumentary (and no, I won't spoil the ending)? How old is this grandson if his granddad died in 1920? Just one of those questions that came up. I have no idea. I admit I gave up at one point and just enjoyed it as a non-narrative. Someone explained something (in Russian? or Swedish? I don't know), but there are also lengthy passages in which we see some animated action and hear these, mainly acoustic sounds. Lots of scratching and scraping of objects, which further elaborated the radio play drama, but then made visual. Strange or weird doesn't even capture what I saw and heard. But even with my total lack of understanding, I very much enjoyed this for its aesthetic qualities." [FdW/Vital Weekly]

Erstes vollständiges Album des AVATAR-Projekts, die hier ein wahrhaft illuminiertes Debut-Werk vorlegen – eine erhabene Atmosphäre aus Klang und Ritus tut sich hier auf. Trancig-rituelle Klänge, die an tibetanische Gebirgslandschaften denken lassen, undurchdringliche soundscapes voller Geheimnis: Perkussive Strukturen, flutes, choirs, deep voices, drones. First album of this german AVATAR-project and a real masterpiece of ritual-trance Illumination-sounds ! "The ritez of higher communication" celebrates the first step of COMBATIVE ALIGNMENT into a new area of recordings for first time on a long play vinyl album. Dreamlike soundscapes rising out of the rain and creating a deep symphonic atmosphere where flutes and Tibetic mantras are mixed with drums in order to build ritual music in the finest form. Circles of visionary dark voices are introducing brooding anthems on the climax with multiple layered drones, illuminating a weeping red sky. TROFHC is an invocation of consciousness corresponding to individual fears banned in sound. The journey of Combative Alignment through several media formats on different labels finds it´s manifestation in an outstanding release. Limited edition of 523 copies” [press release]

Martijn Comes - Interrogation Of The Crystalline Sublime "The human being knows himself only insofar as he knows the world; he perceives the world only in himself, and himself only in the world. Every new object, clearly seen, opens up a new organ of perception in us." — Johann Wolfgang von Goethe I hear atmospheres, sound shapes, gestural narratives, spectral trajectories, stochastic rhythms and phasic space when I encounter an environment rich in sonic phenomena. But in order to be open to this meta-sensory information, I must first get my ears out of the way. I don't listen with my ears but with an inner sensory apparatus, what Goethe called "organs of perception," that I have developed over the years. Once opened to this world sound becomes something very different—it's as if one could previously only see in black and white and suddenly were able to see in color. One becomes a witness to a full range of qualities and events that were previously inaccessible. The drone is not a steady-state sound but a constellation of sound objects that lie hidden beneath a simple surface. The listener can penetrate this surface when they allow time to exist in a space where the past and future collapse into an infinitesimal, yet infinite, moment. Once inside this space the drone serves as a conduit to other planes of existence and explains why spiritualized cultures around the world have used the drone in their worship for millennia. The drone integrates us with the supernal, a synesthesia takes place, all of our senses become a singular super-sense: there is no longer a distinction between sound and sight, or taste and touch. When we experience the world in this way we see the vast web of interconnections and how we deprive ourselves when we divide the world into the narrow-band regions of our senses. It is by transcending these boundaries that we become more fully human and open to the richness the world has to offer us. Kim Cascone - San Francisco, Nov 20 2015 https://movingfurniturerecords.bandcamp.com/album/interrogation-of-the-crystalline-sublime "Martijn Comes is a Dutch composer specialising in new media, sound design and electro-acoustic composition. His hour-long deep-drone piece Interrogation of the Crystalline Sublime was published on the spectacular Drone Cinema 2015 Raspberry Pi (!) release – the kind of gem every dronehead will probably dream of, but with a price tag only few can afford. So it’s a good thing that the Moving Furniture label decided to reissue this piece in a 2-CD version (ánd digital download of course): CD1 containing the hour-long Interrogation by Martijn Comes, and CD2 containing 8 remixes of that piece by Scant Intone, Mitchell Akiyama, Zeno van den Broek, Alberto Boccardi, Haarvöl, Juan Antonio Nieto, Giulio Aldinucci and Orphax. Comes describes his work as ‘livingroom music’ (possibly distinguishing itself slightly from Erik Satie’s ‘Musique d’Ameublement’ (Furniture Music), which was meant to be played by live performers). He set out to “write a piece that is equally meditative as it is harmonious and melodic, or at least it would hint at large subtle progressions of harmony, in a way that is magnetic to the imaginations, while the body remains in a meditative, relaxing state.” It’s an immersive drone, with hints of a shore in the background, that gradually grows intense and inescapable in its first half and then gradually recedes again. It is not often that drone material like this gets remix treatments by different artists, so it’s interesting to hear what other artists do with sonic material like this. Some of the remixers focus on the drone aspect, emphasizing different frequencies thus altering the overall feel. Others filter out artefacts (which can hardly be heard in the original), or add their own material to create abstract electro-acoustic compositions that hardly seem related to the original. Some focus on emotional aspects, others take a more analytic approach. Most of them venture into sonic extremes, thus losing some of the ‘livingroom’ aspect of the original. But each one of these remixes sound completely different – like if they were original compositions in the first place." [Ambientblog]

For this collective release, Martijn Comes and Giulio Aldinucci neither worked in the same studio together, nor did they share and exchange materials. The two pieces on this LP were composed privately and without any sonic input of the other. And yet, it is far more than just a 'split'. Both pieces were loosely based on a pair of opposites first proposed by Nietzsche: The moral codex of society, as represented by the Christian church. And the realisation that only by surrendering completely to emotion can we live life to the fullest. Using a single field recording of a procession in rural Tuscany, Aldinucci investigated how sacred rites are capable of defining new soundscapes. Blazing a trail through three distinct sections, Comes's "Crystalline Tragedies", meanwhile, takes strong feelings evoked by certain life passages into a poetic dimension. Never particularly strict or academic about their inspiration, the same conceptual source lends a strong sense of unity to the music – making it. Tobias Fischer, May 2018. https://movingfurniturerecords.bandcamp.com/album/crystalline-tragedies-the-procession-distant-motionless-shores "And finally what seems to me (I could be wrong of course) the split release by Martijn Comes and Guilio Aldinucci; both have been reviewed before and, generally speaking of course, belong to the wide, wide world of ambient music. Not really the world of abstract drones, but more or less ambient with a strong musical touch; processed guitars, synthesizers and such like. For this split LP they took as a concept two observations by Friedrich Nietzsche; Comes says about this that "for our album, we stripped them down to a simple pair of opposites: The moral codex of society, as represented by the Christian church. And the realisation that only by surrendering completely to emotion can we live life to the fullest." Each of them has a composition that fills the entire side of a record. In 'Crystalline Tragedies', which is the title of the Martijn Comes' piece, there are two distinct sections to be noted. In the first half there is guitar playing (courtesy of Constantine Skourlis), set against a bed of layered drones, which could have been derived from the self-same guitar playing and some less easy to define sounds, which could be humming. The other half of the pieces is a synthesizer section of mid paced arpeggio tones with an almost bouncing rhythm; it imitates a wind like sound and with a beat I would have said it is Porter Ricks like, but without the beat, as it is now, it is nice tumble of barren land. Aldinucci's piece is called 'The Procession (distant motionless shores)' starts out with field recordings in the leading role. It is the recording of a procession in rural Tuscany, which he takes apart, folds together, unfolds and expands again, but all along you will keep recognizing sounds from the procession; people humming, church organ and church bells. It is not easy to say to what extent Aldinucci uses his computer transformations here; the eighteen minute is a very fine collage of all of the field recordings captured during this procession, even including what seems to be animal sounds, building and growing but slowly taking matters to a quiet conclusion. Two quite different sides are here to this record, perhaps a pair of opposites I should/could think, but it works very well, while the rest of the Nietzsche may be a bit lost on me." [FdW/Vital Weekly]